Lessons written and directed by Joss Whedon
The Chosen One: Buffy spells out that times are still hard but there is a massive emphasis shift since the defeat of Dark Willow from that of the Summers family self destructing to that of a family that is coping and thriving with what they have. Buffy discovers the horror of reaching that age where she can be mistaken for being Dawn’s mother, which she thinks is all down to her hair. Whilst Buffy’s shoulder shrugging reaction to the ghosts in the school shows a character who has battled against far worse things who is completely acclimatised to whatever this town might throw at her, it does mean that the threat is belittled slightly. Moving Buffy out of the Doublemeat Palace and into the High School as a counsellor for the kids there (ask yourself who is better qualified considering not too long ago she was one of those suffering kids) is another massive step in the right direction. The Palace was a good pit stop for an episode or two but there was never going to be a wealth of storytelling possibilities there. This has potential, as exemplified in episodes like Help and Him.
Vengeance Demon: ‘What is this, an intervention? Shouldn’t all my demon friends be here?’ ‘Sweetie…they are.’ Anya has always worked as an extension of Xander’s character, right since the end of season three where she became a series regular. Her split with him has afforded her the chance to really step out of his shadow and prove what she can bring to the show. Her relationship with Halfrek is great fun and something I felt the show could have exploited more in the final season (given that all her scenes for this year were shot on the same day I can only assume the actress was too busy to take a more substantial part). Back in the day she was the single most hardcore vengeance demon in the fold but now thanks to Xander’s influence her savagery has been tempered by humanity. This is all useful set up for her dramatic development in Selfless where Anya attempts to live up to her reputation.
‘Like I’m going to turn the world into bangers and mash…and I’m not exactly sure what that is.’
‘Who are they kidding with that happy, shiny crap?’
The Good: The re-introduction of Sunnydale High feels like a great place to start a back to basics approach to the show. It has been long enough since series three for the show to feel like it isn’t covering old ground and there are enough new elements (the sinister Principal, Spike nuts in the basement, the focus on Dawn at school instead of Buffy) to make the setting feel fresh and interesting. Did Joss Whedon need to head to England in order to shoot the scenes with Willow and Giles? Perhaps not, America has beautiful parks of it’s own that could have doubled up for the UK quite adequately. However it adds a touch of authenticity to the show and is another example of the show widening its scope and the material is beautifully shot, exposing the lush English countryside at its best. TV rarely makes me jump but the moment when the ball gets thrown against the locker gets me every time. D.B. Woodside is a very promising addition to the cast, smoking hot and charismatic as the new school Principal and with a shroud of mystery around him from the off. Whatever the new big bad that is about to arrive is, Halfrek informs us that even the demon underworld is getting twitchy about it.
The Bad: I love the idea of Dawn getting her own set of Scoobies to hang with but Whedon doesn’t manage to inject them with the same repartee and likeability that made Buffy, Willow and Xander so memorable in Welcome to the Hellmouth. Carlos is probably the worst performed character I have ever seen on the show and Kit is the sort of manic depressive that makes you want to slit your wrists. They are outcasts (which I guess was the idea) but I’m not exactly sad that we don’t get to spend any time with them again. Check out Cassie and Peter in Help to see precisely the sort of friends Dawn should have realised. The idea of the victims of episodes past emerging to drag Buffy and Dawn down with them is a smashing one but I don’t think it was handled especially well. They should have been a truly chilling reminder of all the innocents that Buffy has failed to save but instead they come across as petulant hair pulling sprites with underwhelming make up jobs. Even the solution is glib and all too easy, Xander discovering the talisman and snapping it in two.
Orchestra: Removing Thomas Wanker from scoring duties gives the show a massive lift. Gone is the all too subtle music that plagued the last two seasons (which was effective during the quieter moments but could on occasion really drag the show down when it was trying to be exciting) and in steps a more full blooded and attention grabbing musician the likes of which we haven’t seen since Christophe Beck at his best. Some of my favourite music in Buffy turns up in season seven and it all starts here.
Result: ‘The Hellmouth?’ ‘It’s going to open. It’s going to swallow us all…’ Lessons isn’t a classic episode in it’s own right (the dangers are far too old hat for that) but it sees a show taking note of all the areas that it went wrong in the previous year and making dramatic steps to improve. So we have a Big Bad on the horizon in episode one that is already getting everybody twitchy (the Big Bad of series six didn’t rear it’s head until episode nineteen!), an increased level of humour, a back to basics approach with the resurrection of one of the shows previously strongest elements (the academic setting) and sparky interaction between all of the leads, especially Buffy and Dawn which was much needed after their antagonism last season. Dawn’s adventures at High School should have been written with a lot more pizzazz though, and I can’t help but smile at the thought that we never have to endure Kit and Carlos again. The best scenes are the ones that set up the season as a whole; the astonishingly shot pre-titles sequence in Istanbul, Willow’s awareness of the emergence of the new Big Bad, Spike’s sudden appearance in the basement and the roll call of all the villains that Buffy has enjoyed as proof that season seven will be celebrating the history of the show as well as pushing forward with it’s own story. Joss Whedon has a real problem with opening seasons (Buffy vs Dracula is still me favourite opener and it was penned by Marti Noxon) and yet all his other episodes, especially his finales, kick ass. Because the writers seem to have a superb sense of what they want to achieve with season seven from the off, Lessons is buoyed by an injection of confidence and a real feeling that this is going to be a superb year, tantalising the audience with some exciting pointers of what is to come. As a result it is probably Whedon’s strongest first episode, albeit with some issues that drag it down from being anything truly special: 7/10
Beneath You written by Doug Petrie and directed by Nick Marck
Result: The story of a horror rising from below to serve as a red herring to disguise the real Big Bad this year, Beneath You is a sharp and peppy episode that offers some enjoyable relief before the season explores some serious themes of guilt and suicide in the next few episodes. The centrepiece of this episode is the very funny scene in the Bronze where Xander’s potential new squeeze Nancy is surrounded by all the Scoobies and realises just how fucked up their relationships are (Xander and Anya are troubles exes, Spike attempted to rape Buffy, Anya and Spike slept together on the rebound) which made me laugh so much it almost made all that extended misery last year worthwhile. It also reveals Anya’s newfound ambiguous morals and Spike’s humanity in a very enjoyable way and results in a fight where everybody is working out their personal issues with their fists. Season seven has differentiated itself from seasons five and six by being extremely focused and busy from the off. In fact I can’t remember a single year of Buffy that has been as prepared and confident in it’s task ahead and with so much happening (Willow’s sojourn in England, the girls being murdered, the repeated motif of ‘From beneath you, it devours…’, Buffy’s new job, Xander’s rocky love life, Spike’s rehabilitation) there is an abundance of substance even to the slighter episodes. All of the characters feel fresher for their turn to the dark side last year and the abundance of humour that runs through this (actually very dark) episode helps to keep things lively and ticking over. Once again the high points are the first and last scene, another young girl is killed in mysterious circumstances and Spike throws himself on Buffy’s mercy, but overall this is a much more satisfying episode than Lessons sees that burst of confidence at the end of season six extending into the shows final year: 8/10
Result: A perfectly formed Buffy episode that manages to combine effective horror, chucklesome comedy and touching drama to great effect. What really stands out in Same Time, Same Place is James A. Contner’s direction. Every scene feels as though it has been very carefully crafted so the intriguing premise translates on screen in a very satisfying and fluidic way. As soon as the focus is on Willow the already-doing-well season seven steps up a notch, using the dramatic events from the end of the last season to give the characters solid motives for feeling the way they do and to add much substance to the investigation of the latest (icky skin eating) demon. The Gnarl is a truly grotesque creation, pushing the horror about as far as they can go on this show and presenting a nasty with a memorable personality and appearance. The characterisation is superior across the board with all of the character learning from their mistakes last year (hiding all of their vices) and being honest with each other. It makes for far more effective and revealing drama. There’s even some gorgeous comedy as Dawn is paralysed and everybody gets to have a go at abusing the powerless teen. Jane Espenson has always been one of the finest Buffy writers but she went a little awry in season six (along with some of the other superior contributors so she wasn’t alone by any means) and so it is great to see that she is back on top form for the shows final year. A marvellous hour of television: 9/10
Help written by Rebecca Rand Kirshner and directed by Rick Rosenthal
Result: Help is another strong episode that commits to the idea of Buffy becoming a school counsellor and plays some interesting games with the idea. It has a relatively simple plot but it is one that is generated by real emotions and has serious consequences for the regulars. To have a story that is set so much at Sunnydale High School is a real blast from the past but not an unpleasant one and Help populates itself with the sort of characters that Dawn should have been hanging out with in Lessons. There is a methodical way that Rebecca Rand Kirshner approaches the idea of Cassie’s impending death that means the episode feels as though progressive naturally and realistically, Buffy, Dawn and their friends attempting every avenue to discover the cause of her premature passing before it happens. It might seem that in the grand scheme of season seven that this is a little throwaway but there are a number of elements that crop up again (Cassie plays an important role in Conversations with Dead People and Amanda is a semi-regular come the last third of the season) and once again the focus on Dawn is a very positive thing. Of everything, she has emerged as the greatest innovation in the spruced up, sunnier season seven and is a joy to be around now. None of this would be worth a fig if Cassie wasn’t a character that I liked and despite some teenage excesses that serve only to poison the stomach (that godawful angst ridden poetry), Azura Skye’s confident and nuanced performance brings the character to life in unexpected ways and makes the characters sudden exit really hit home. Sensitively played, with some lovely turns in the plot and a race against time ending, Help is another example of the positive direction the show has taken: 8/10
Beneath You written by Doug Petrie and directed by Nick Marck
The Chosen One: Whilst it is clear later in the series that Buffy was manipulated into a position in the High School so Principal Wood could keep an eye on her, being a counsellor is actually a role that she is rather good at (for the most part). I would certainly rather go and see somebody normal and on my level like Buffy than a holier-than-thou example of humanity like Troi from Star Trek: TNG. Understandably, Buffy recalls her near rape every time she touches Spike and it seems as though the thing that the audience wants most of all, for them to get together, is way off the cards.
The Key: In moment that makes you sit up and pay attention, Dawn tells Spike that if he hurts Buffy again she will dust him when he is sleeping.
Sexy Blond: After his memorable return to Sunnydale (plus soul) in Lessons, Beneath You gives Spike a much larger slice of the pie and as a result is the most responsible use of the character since Dead Things. He can be seen down in the basement again hiding from the nasties beneath the ground and talking to his rat companions and generally behaving in a less than cogent state. Surely having his soul returned has not driven him to this state? The next we see of him is far more like the Spike of old, squeezed into a mouth wateringly tight top and offering to help Buffy with the latest demon to menace Sunnydale. It takes his attack on Ronnie to prick at his emerging soul and he starts losing it again. This might feel inconsistent but it takes the explanation of who the Big Bad is to make sense of all this so it only becomes clear in hindsight. In season three, the First pricked at Angel’s conscience and enticed him to commit suicide because of all of the people that he had killed in the past. Beneath You sees Spike being manipulated into a similar position, although we aren’t seeing the manipulation yet, just the result of it (although Spike does mention that ‘everybody’s in here, talking…’). Spike got his soul back as a penance for what he did to Buffy, wanting to become a man for her and reject his demonic nature. It might have seemed that he would never be able to make up for the appalling act he committed, willingly torturing himself with a soul and then offering up his life as he does here comes as close as he was going to. Buffy states that there is something different about him in this episode and at its climax she realises what that is and sheds a tear as he throws himself at her mercy. Suddenly Spike is a genuinely tragic character on a road to redemption. We’ve seen him at his worst and now it is time to watch him pick himself up and prove that he really does have something to offer Buffy. I find the Buffy/Spike relationship so much more believable than the Buffy/Angel one in that regard, for one because it is far less melodramatic, for two because it is much more realistically passionate and for three because it is handled in a far more realistic and adult way. The final scene is one of the high points of their relationship, blissfully written and acted, subtle and very touching.
Gorgeous Geek: Gone is all that bluster and stubbornness that could make Xander such a frustrating character in the first couple of seasons and what has emerged is a quietly confident and likable young man. He tells Buffy that the kids are lucky to have her working at the school in whatever role she happens to be filling and that he was always grateful of the fact. Showing how far he has come since season one, he scoffs at the idea of being mistaken for Buffy’s boyfriend. He sees a chance to get back on the dating bandwagon with Nancy but it would appear that fate has conspired to make that prospect as difficult as possible. Even when he falls for a nice, normal girl there has to be a demon connection somewhere and that comes in the shape of her former boyfriend cursed by his former girlfriend. It’s complicated.
Vengeance Demon: Discovering that Anya is the cause of all Nancy’s problems is rather cathartic on her part and a nice way of reminding us that now she is a vengeance demon there is a divide between her and the Scoobies that is getting bigger. It’s useful set up again for the events of Selfless where her relationship with the Scoobies is almost poisoned for good. She’s completely amoral these days, an angry woman who is taking her own personal issues out on as many men as possible. Whilst he has much to atone for before they can heal the wounds between them, Xander finally plucks up the courage to tell Anya that he cannot be held responsible for every bad turn her life is taking.
Sparkling Dialogue: ‘Trust me, you open that door and these students will eat you alive’ ‘You heard about Principal Flutie, right?’
‘Is there anyone here who hasn’t slept together?’
‘No more mind games. No more mind.’
Same Time, Same Place written by Jane Espenson and directed by James A. Contner
The Chosen One: Buffy seems to be the voice of reason when Willow fails to return home and a flayed body is discovered. All the evidence points to Willow and she is not afraid to say so. I really liked how Willow failed to blame Buffy for thinking that and how she gently offers a firm sign of friendship by giving her her time and strength in the very sweet coda.
The Key: Dawn commenting that nobody ever seems to ask for help when they need it is very observant. I’ve noticed a real effort to make the character lighter and more enjoyable to be around this season and the net result is a much more satisfying member of the central cast, especially compared to her relentless whining last year. She’s at the computer doing all the Willow Whizzkid stuff, researching all manner of demons until she settles on the right one. The way she handles all this stuff without batting an eyelid is daunting for Buffy and Xander who still find it all rather tasteless. All the material with the comically paralysed Dawn is hilarious – how marvellous to be taking the piss out of this character because it really helps to make her more likable. Xander shoving her face down on the sofa made me howl.
Gorgeous Geek: Xander is still astonished that his mouth saved the world and I have to say it’s not something I ever imagined happening either. His plaque written in yellow crayon is a lovely gesture to his best friend. It’s just a shame that her misplaced guilt means that she got to see it.
Sparkling Dialogue: ‘It’s smelementary!’
‘Oh! You’re opposable!’
‘Wouldn’t it be tragic if you were here being silly with your comically paralysed sister while Willow was dying?’
‘Inside me you’ll already be!’
Moment to Watch Out For: It would be nothing but a well staged wind up with no pitch if the clever intercutting of Willow and Buffy’s perceptions weren’t leading up to some kind of emotionally satisfying conclusion and this is where Same Time, Same Place scores it’s biggest win. Willow’s joy when she realises that Buffy and Xander have come to rescue her is touchingly played by Alyson Hannigan and the moment when they are reunited it taps into the core strength of this show that their three way friendship brings to it. This episode spends so much time with the characters thinking ill of each other that the moment it dawns on them all that they have been wrong they just cling onto each other to affirm their strength of feeling for each other. It’s another indication that season seven is getting back to basics, their friendship back at full strength. It’s about time.
Help written by Rebecca Rand Kirshner and directed by Rick Rosenthal
The Chosen One: I have read recently that the idea of Buffy becoming a counsellor is absurd and it is an opinion that I disagree with strong. When you shove somebody with loads of qualifications in the chair you get somebody like Counsellor Troi the automaton in Star Trek: TNG, a character so whiter than white that she surely cannot of had any life experience about the things that she preaches about. Forgive me, but in the twisted hands of Joss Whedon, Buffy has already had suffered an incredible amount of life experience and pain, falling in love, losing a lover and a mother, messing around with the wrong guy, succumbing to her worst vices, using men…it’s an endless parade of all those things that we try not to think about. And she has come out fighting. She might still be young but that doesn’t mean she cannot be astute and empathic (a common misconception) and Buffy’s first instinct is to help people, despite her occasion self centeredness. Plus she has a likable and attractive façade and there is scientific proof that we find it easier to relate to and trust good-looking people. Even the characters in the show wind up mocking her time working at the school but I personally see no problem with it whatsoever. It plays to her strengths as a character, she actually does some genuine good outside of her role as a Slayer, it generates some good storytelling and it merges with the back to basics approach that season seven is all about. No issues from me at all. Buffy is worried the students will come at her with issues that are weird and tricky but after a few mishaps she more than slips into her groove. She comes to a very mature decision at the end of Help, having failed to save Cassie and realising that sometimes you just cannot help people no matter how hard you try, she heads back to her desk to keep trying.
Witchy Willow: Willow’s visit to Tara’s grave is beautifully acted, directed and scored. It touches because it is long overdue and is so understated.
Sparkling Dialogue: ‘And I’d love to see my cousins grow up and see how they turn out because they’re really mean and I think they’re going to be fat!’
The Bad: Cassie’s dreary hormonal poetry is the one element of her character that repulsed me. It’s vile, but I never bought into the idea of the power of poetry despite my irritating aptitude for studying it academically. The introduction of the bizarre cult of students that want to mess with Cassie is a complete red herring and seems to come from nowhere but whilst we are dealing with the illogic of this previously unseen coven being the cause our minds are being taken off the very real, much simpler reason for her downfall. Buffy even says to the cult: ‘Do you know how lame this is?’
Foreboding: When it appears he has saved her life, Cassie tells Spike: ‘One day she’ll tell you…’
Selfless written by Drew Goddard and directed by David Solomon
What’s it about: Anya has killed and it’s time to put an end to her vengeance demon ways…
The Chosen One: Buffy is clearly having something of a slow day in the counsellors office, balancing pencils on her head for kicks. In amongst their tense exchanges there are some very valid criticisms made about Buffy – that she lost all sense of judgement last year when she slept with a mass murderer, that she cuts herself off from everybody when she chooses and acts like she is the law. In another breath she reminds Xander that she killed Angel, the man she loved more than anything, and so she is willing to make sacrifices when it is for the greater good.
The Key: Dawn’s ‘nod and smile like you know what people are talking about’ is great advice that I offer to people all the time.
Gorgeous Geek: Poor Xander, he’s only just gotten over the fact that his best friend turned to the dark side and tried to wipe them all out and now he has to get a handle on his ex-fiancé indulging in her previous murdering ways again. Xander admits that he still loves her and that he cannot let Buffy kill her, he will step in the way no matter what.
‘And I yelled just once I wish you could all feel what it’s like to have your hearts ripped out…’
‘There is little that can distract the Willow when she is on the hunt for the mighty syllabi.’
‘There’s a revolution going on outside that you are somewhat responsible for!’
‘The flaying of Warren Myers. Truly inspired. That was water cooler vengeance.’
‘Haven’t I taught you anything, Anya? Never go for the kill when you can go for the pain.’
Moment to Watch Out For: Cute, funny, catchy and revealing; it has to be the flashback to Once More, with Feeling although pretty much the entire episode is of this superior quality.
Result: Extraordinarily good, Selfless resides proudly in my top ten favourite Buffy episodes. Few stories manage to fit this much in and remain as confident and coherent as this; it is an episode packed with great comedy, stunning character drama, kisses to the past, expensive production values, gem after gem of dialogue, astonishing performances, hard choices and gut wrenching consequences. If people genuinely think that Buffy never hit the heights of its early years again then they are clearly watching a different show to me because this is exceptional viewing. It’s astonishing to realise how much mythology has been built up around Anya and this episode slides effortlessly into her past and offers up blissful glimpses into some of the most important moments of her life. With Anya came fan favourites D’Hoffryn, Halfrek and Olaf and they all take their place in the episode that celebrates her character. Selfless is a drama that manages to convincingly force Buffy and Anya into a fight to the death after three years of working together and revels in all the character fireworks that naturally spring from that scenario, especially the objections from Xander who cannot comprehend how his friend and lover are now exchanging killing blows. David Solomon offers up his best ever direction, switching genre and tone effortlessly and making sure that the whole piece flows beautifully despite it’s scatterbrained nature. Emma Caulfield delivers a sterling performance; funny, scary, touching and proves once again what an incredible asset she is to this show. But the real star of Selfless is newcomer Drew Goddard who has written a fantastic script, the sort of standard that we only usually see from Joss Whedon at his very best. It’s further proof that adding fresh talent to the show has been long overdue. Stunningly good, I’ve run out of superlatives: 10/10
Result: Brilliant fun, this extremely enjoyable filler episode attests to season seven’s back to basics approach more than any other as it could happily reside in any of the shows first three seasons without too much tweaking. The High School setting, the comedy high-jinks, the romance angle, the way things complicate so manically, the gorgeous soundtrack – it’s a counterpart to season two’s Bewitched, Bothered and Bewildered (we even flashback to that episode) and although it isn’t quite as razor sharp with it’s delivery it is probably the one of the most outright entertaining episodes of the last three years that has no ulterior motive but to amuse. Him starts off as a regular teen crush episode of the sort we saw many times in the past but soon takes a fantastic turn into sitcom territory as all the girls in the show develop a crush on the same guy and are trying to find ways to impress him and get one up on each other. It means that everybody can toss their usual portrayals away for one week and farce it up with Sarah Michelle Gellar in particular grabbing hold of the chance to play a looser, funnier Buffy and sprinting to the finish line. It’s all a little too slight and unimportant to score higher but ultimately this is addictive popcorn entertainment of the sort that Buffy excels at (but completely forgot how to pull off last season – compare this to the last Dawn falls in love episode, All the Way, and the levels of enjoyment are vast). The first five episodes of season seven have all ranged from good to excellent with a pleasingly diverse mixture of style and storytelling techniques. More please: 8/10
Result: The first uneven episode of the year but one that is still packed with memorable moments and adds more momentum to the overriding storyline. There is an awkward and slack pace to events as lots of exposition is dealt with, necessary after the mass of set up that season seven has indulged in. The introduction of the Potentials was probably a great idea on paper but is clumsily cast and with some horrific fake accents on display they are the first major misstep in the year-long storyline. Things will improve exponentially when Annabel and Molly are killed but the very fact that I am considering these characters as disposable and willing them to die means that something has gone ever so wrong in their execution. Once the Potentials are fronted by Kennedy, Amanda and Rona we will be in much better shape. On the bright side this is an episode that revels in Buffy’s past, allowing us a glimpse at fan favourites such as Joyce and Drusilla and the whole piece climaxes on an unforgettable battle that sees Buffy taking a beating like we have never seen before. But there is a feeling of marking time as well and that this is part of a much bigger puzzle and not a standalone piece in its own right (every other episode so far this year could happily stand on its own). A lot of what is set up in Bring on the Night is concluded in Showtime and I couldn’t help but wonder that the two so-so episodes could have been condensed down into a much more satisfying single installment. By no means poor but far from classic, this is middle of the road Buffy which still makes it better than most other shows out there: 6/10
Result: ‘It’s started, hasn’t it?’ By far the best of the ‘written and directed by Doug Petrie’ episodes, Get It Done takes a deeper look into the Slayer mythology and answers some long posed questions about the nature of Buffy’s power. It is a visually spectacular piece with everything being thrown into the mix (dream sequences, creepy shadow puppetry, stunning locations) to make sure that the hour passes by agreeably. Direction wise, there is more going on in this one episode than there was in practically the entire first half of season six. Buffy’s role as a leader is called in to question (and would be again before the season is out) and she takes on the role of the bad guy in order to force everybody to up their game. Chloe’s suicide shocks, but what comes from that is a determination that the First wont be able to consume them from within again. There’s great moments for practically everybody; discussion of Anya’s place in the gang, Dawn continuing to earn points on the periphery doing research, Willow teaching Kennedy a hard lesson in the pain magic can bring, Spike regaining his mojo and Robin Wood just waiting to make his move against him. These season seven episodes might be spectacularly busy but that is because there is so little time left and they are trying to pack everything they desire into every installment before. The net result is that almost every episode is packed with real gems of scenes. Get It Done is an exciting struggle to learn essential information about Slayer mythology and the strength of the First’s Turok-han army. It is a puzzle piece but does hold up well as a good show in its own right. We haven’t even reached the really good stuff yet: 8/10
Result: ‘Stop telling stories. Life isn’t a story…’ It is a tough one to judge because so much of season seven is quality material but Storyteller might just be the finest episode of the year, or at least my personal favourite. It is an episode of Buffy that has all of the shows best ingredients in abundance; imagination, style, biting humour, sparkling lines, memorable fight sequences, fourth wall demolition, character development and it is all wrapped up in some bountiful direction. It really feels like Espenson is in a great place to write this episode, using all the best tools that show has nurtured over the past seven years and filling it full of tricks and treats of her own. Andrew has infiltrated the Summers household and become one of the most amusing characters in the show, the writers really getting a handle on him after their bizarre mishandling of him in season six. If you would have told me last year that an episode that pushed him into the limelight was going to be one of my favourite episodes of Buffy I would have laughed your head off but the way Espenson uses the character to define the thin line between fantasy and reality is exceptional. Tom Lenk seizes this opportunity to offers and really gets to explore the character in a way that has been denied to him before. He really impresses, throwing himself into the part. Espenson fills the show full of amusing dream sequences and narrative tricks but it is the way she strips away all of that at the conclusion and forces Andrew to confront the truth about himself that gives Storyteller its most powerful moments. In between there is a reconciliation (of sorts) for Xander and Anya, a further reminder of the unspoken relationship between Spike and Wood and dramatic and comic proof that the First’s influence is spreading. There are references to the past, echoes of what is to come and even some amusing rewriting of last years more salient moments. Storyteller is packed with goodies but holds together as a fantastic episode in it’s own right, the epitome of what Buffy can bring when everything comes together perfectly. I’ve seen it dozens of times and I still love it: 10/10
Result: ‘The mission is what matters…’ Everything that Drew Goddard touches seems to turn to gold this season. First there was the multi-faceted Conversations with Dead People, then came the dark drama Sleeper, then the game changing Never Leave Me and now what is possibly the best episode of the final year. The fact that it is followed up by Dirty Girls, the years biggest shocker, which is also written by Goddard and you start to see a pattern forming. It’s an episode that is willing to put Buffy and Giles at loggerheads over Spike, set a bomb off and watch their relationship tear apart. It’s an episode that offers riveting (and often very funny) flashbacks into Spike’s past and charter his uncomfortably close relationship with his mother. And it’s an episode that allows Robin Wood to finally make his move against the fiend that snapped his mothers neck. For those of you who think that Buffy is just Clueless with vampires then I suggest you check this installment out because it is one of the most layered, deftly characterised, maturely written pieces of drama it has ever been my fortune to watch. James Marsters steps into the limelight once again and provides another outstanding performance and he is ably supported by Sarah Michelle Gellar and Anthony Head who seem really charged at being able to take their characters into some uncomfortable places. David Fury’s direction is exceptional and there are plenty of memorable set pieces and with Goddard on board the dialogue is once again top notch. What really stands out more than anything else is the exceptional performance courtesy of D.B Woodside who has really stepped from the shadows and proven to be a formidable presence in the latter half of the season. This is a pause in the arc story to tell a gripping character piece and I’m so pleased that they did so, it adds much weight to the Buffy/Spike revelations to come and proves to be one of the most impressive performance pieces the show ever delivered. Another classic: 10/10
Him written by Drew Z. Greenberg and directed by Michael Gershman
The Chosen One: There’s a definite shift in Buffy’s attitude towards Spike now that he has been granted his soul. Rather than fearing him, she now pities him and convinces Xander to let him move in with him for the time being. She doesn’t love him but she does feel for him. As I saw Sarah Michelle Gellar giggling like a school girl on heat and playing the character more loosely than ever it struck me that it is starting to feel like all the internal horrors that she went through last year have been completely excised. Whilst it was a thoughtful exercise at the time, this version of Buffy is far more enjoyable to be around. Although I’m surprised she managed to escape this episode with her job at the High School intact, especially after seeing her straddle RJ quite as provocatively as she does in an eye watering scene. Hilariously, Buffy is constantly trying to remind RJ that she only left High School a few years ago. Can you say desperate?
Vengeance Demon: Proof that Buffy can turn it’s characters actions on a sixpence and make it convincing, we have gone from Buffy trying to kill Anya in the previous to fighting to protect her in this one.
Sparkling Dialogue: ‘No one expects the Spanish Inquisition! God, it’s like I have a disease or something…’
‘First with the lap dance, now with the catfight. Want to get drunk and barf next?’
‘I’m extremely youthful…and peppy!’
‘His physical presence has a penis!’
‘Yeah right! What are you going to do use magic to make him into a girl?’
‘You realise Anya is probably seducing RJ as we speak!’ ‘My God, you think so?’ ‘I wouldn’t put it past her…she’s recently evil, you know?’ ‘Well so am I! Why should I miss out?’
Moment to Watch Out For: Possibly my favourite comedy sequence in Buffy comes during the split screen delight in Him when all the girls head off to try and impress RJ in various imaginative ways. Willow’s doing her magic, Buffy’s attempting to kill the Principal, Anya is going to rob a bank and Dawn wants to offer her life to show how much she cares. Okay, the last one isn’t hilarious but the sequence sees Buffy letting its hair down in a way that it hasn’t for ages, offering up something that is visually very fun to watch and the music is to die for. The resulting scenes featuring Xander intervening with the spell, the silent sequence that sees Spike tackling Buffy before she can use a rocket launcher to blow Wood away and Buffy saving Dawn from being squished by a train are all excellent too. Spike running with the launcher makes me piss myself every time I see it.
Orchestra: Another season seven episode with an incredible soundtrack, Him boasts not only a memorable and peppy original musical score but amongst that it utilises everything from the delightful theme from Summer Place, Coldplay and King Black Acid. The music chosen is delightful and really highlights this episode as a throwback to the early years.
Conversations with Dead People written by Jane Espenson (the Dawns scenes), Drew Goddard (the Trio scenes), Joss Whedon (the Buffy/Holden scenes) and Marti Noxon (the Willow/Cassie scenes) and directed by Nick Marck
What’s it about: Dead friends and family contact the Scoobies…
The Chosen One: Things we learn about Buffy in this episode: that she thinks that there are relationships that survive but she has a habit of targeting the impossible ones, she has a hard time trusting men because her first example of one (her dad) cheated on her mum, she has trouble connecting to men because she thinks she is better than them, she admits that she behaved like a monster with Spike and at the same time let him completely take her over, last year she wanted to be punished in the way that she thought she deserved, even though her friends tell her that they love her it doesn’t penetrate because they cannot possibly understand what it is like to be her – she has a superiority complex but she’s got an inferiority complex about that. Oh how I miss complex characterisation like this in cult television. Oh and she’s so self involved she barely remembers anybody who existed on the periphery of her life during High School (‘I don’t remember you being this annoying!’ ‘You don’t remember me at all!’ ‘Yes I do!’ ‘Yeah after 30 minutes of reminding!’).
The Key: More of this frighteningly likable Dawn, buying pizza against her sisters instructions and spilling it over one of her shirts and shrugging it off because she’ll probably think it is blood. Oh and cutting chunks out of the wall when playing with Buffy’s weapons and shoving pot plants in its place to cover it up.
The Trio: Jonathan and Andrew are back in town because they think they might be needed in the fight that is to come and to potentially redeem themselves. Cue comic mishaps from the off, starting with their hilarious misinterpretation of the Klingon portent regarding the new Big Bad: ‘It eats you starting with your bottom.’ In Seeing Red we saw Andrew trying to make a dramatic exit to the skies and it going hilariously wrong, this time he is trying to make a stealthy entrance in the other direction and winds up screaming into shot and landing on his arse. Great stuff. It’s when Warren showed up that I started to have an inkling about who the Big Bad might be…there have been far too many appearances of dead people for this to be a co-incidence now (Buffy haunting Spike, the montage of old villains in Lessons, now Cassie and Joyce). In a very sweet speech Jonathan admits how much he misses High School, from the people who pretended to be his friends to those who treated him appallingly because at that point in his life he felt as though he belonged somewhere. He misses those people and in a spectacularly cruel display Andrew informs him that none of those people even know he exists anymore. There is something horribly malicious about Andrew leading Jonathan to the Seal only to stab him in the gut and end his life. The First has proven itself as a darkly manipulative force that will utilise any methods to achieve its purpose. Andrew is going to have to do a great deal of soul searching and repent in order to wipe away the sins he commits in this episode.
‘This is beyond evil, this is insane troll logic!’
‘Buffy I’m here to kill you not to judge you.’
The Good: The unusually stylish opening sequence immediately informs the viewer that this going to be something a bit different, to some seductively sombre music we experience a montage of clips featuring Buffy in the graveyard, Willow in the library and Dawn at home. The locations where they will remain throughout the episode in their various confrontations with the new Big Bad. The episode keeps cutting back to Spike at a bar trying to pick up women and it fails to make any sense until the conclusion, proving just how well plotted this piece is.
It’s the dialogue that stands out in the Buffy/Holden sequences; razor sharp, funny, revealing and quite touching. It’s Joss Whedon at his finest, far superior to his half hearted approach to Lessons as the beginning of the year. Outing Scott Hope as gay was a really nice touch. This is the extended therapy that Buffy has needed for some time, being able to air her feelings without any fear of reprisals and the fact that her recipient of all this honesty is a vampire that she is fighting to the death gives these scenes a real edge. The crushing inevitability that they are going to fight to the death even though they are clearly enjoying each others company always lingers. The action itself is very smartly choreographed, especially when they struggle with each other whilst crashing through a stained glass window into a mausoleum before the graveyard setting gets stale.
Foreboding: Check the section above – so much to deal with after the revelations dished out here.
Result: ‘You don’t know hurt. This last year is going to seem like cake after what I put you and your friends through and I am not a fan of easy death. The fact is the whole good versus evil, balancing the scales thing, I’m over it. I’m done with the mortal coil but believe me I’m going for a big finish…’ With the four best writers on this series, both old and new, combining to write a script I was expecting big things. Fortunately it doesn’t disappoint and this is the second episode in the opening run of season seven that exists in my top ten favourites of the entire series. Conversations with Dead People is one of those Buffy episodes that sticks out because it so different from anything else the series has done before and yet it contains all the core ingredients that make the show such a smash hit; laughs, drama, intense character development, great twists, memorable action, scares and scorching dialogue. I couldn’t have been more thrilled with where season seven was heading when this episode first aired and it holds up to repeated viewing brilliantly with Nick Marck’s polished direction looking as good now as it did a decade ago. It deals with many of the criticisms of season six (looking into both Buffy and Willow’s self destructive behaviour) whilst pushing forward this years plot with a hefty shove. Dawn’s horror movie experiences at home are probably as intense as the show ever dared to push the genre and the re-introduction of Trio works a treat because whilst it appears that they have come to repent for their previous misdeeds there is something far more sinister at the heart of it. The dialogue is constantly surprising, the action relentless and the last ten minutes manages to kick start a multitude of fascinating new plot threats that weave throughout the rest of the year. Like Selfless before it, this is Buffy at it’s very best and it’s fantastic to see the show delivering such value so close to it’s demise. Exhilarating: 10/10
Sleeper written by David Fury & Jane Espenson and directed by Alan J. Levi
The Chosen One: Buffy experiences all manner of conflict in Sleeper and it finally forces her to choose where she is with her relationship with Spike. If she can somehow see past him killing again then she can pretty much forgive him for anything. I enjoyed the subtle way that she tried to coax a reaction out of him by mentioning Holden’s name but of course he is completely unaware of the First’s manipulations after the murders and is the picture of innocence. We haven’t heard Buffy and Spike go at each other like this for some time now and it’s a stellar reminder of the chemistry that Gellar and Marsters share when given the right material. Spike’s apparent betrayal hurts because Buffy has put her trust in him even after what he tried to do to her last year. This feels like another slap in the face. At the end of the episode she can see how much he has been manipulated and tortured into killing but the net result is still the same. Her friends try and be the voice of reason but for some reason she just can’t finish him off in the same way she was willing to do with Anya a few episodes earlier. Even I have to admit it seems like she has had a logic bypass at this junction because Spike is just as dangerous to have around as he would be on the streets. However come the end of the season her instincts would be proven correct, but not before Giles tries to intervene in a very dramatic way.
Sexy Blond: How the episode can go from trying to convince us that Spike is ruthless killer and has caught Anya in the act of trying to sneak into his room to find some evidence to having him playing the terrified stallion afraid of her sexual advances is effortlessly handled. It’s that kind of confidence that this show has survived on for so long. The chip was forced upon him but the soul he acquired himself, for Buffy. Spike admits that he goes out and talks to women but that is only because Buffy wont let him in.
Vengeance Demon: How times have changed. Just last year Xander was handy with an axe after Anya spent some quality time with Spike and now he is encouraging her to do so. This time she could wind up as a bloodless corpse but then paybacks a bitch.
‘Sorry ma’am, but it’s my job…’ whilst staking a vampire might just be one of Buffy’s best ever lines.
‘I can’t cry this soul out of me.’
Dreadful Dialogue: ‘Is that all I was to you? A one bite stand?’ – occasionally Buffy goes for a line that might have sounded hip on paper but proves to be an epic fail on screen. It comes just after a suggestion that Spike comes onto a guy though so I was in a fairly benevolent mood at the time.
Moment to Watch Out For: Did I say that Conversations with Dead People was the closest that Buffy ever got to pure horror? I had clearly put The Dark Age, Helpless and Hush out of my mind but then I always think of exceptions after I have made grand statements like that. Sleeper continues the trend, heading into haunted house territory as the big bad vampire leads the innocent blonde victim into a dank and dirty basement that is filled with corpses that burst to life and try to kill her. What this leads to is one of the most impressive action sequences this year as Buffy tackles them all. Spike coming at her with a shard of glass is pretty graphic but my favourite moment comes when the vampires all burst from the ground in a spectacularly dramatic display (I love anything bursting from the ground).
Fashion Statement: Spike, in bed, barely covered and clearly wearing no underwear. Phew. And seeing Spike sucking on the neck of another guy. Great stuff.
Foreboding: How on Earth is Giles going to escape that axe that is swinging precariously close to his head at the end of the episode?
Result: As well as provoking the best work from some of the established Buffy directors this year, we’re also seeing some new names being added to the mix and the resulting episodes are much more satisfying and fresh. There is a deliciously brooding atmosphere to Sleeper that springs from the question of whether Spike is killing again or not which really shouldn’t work as well as it does. Last season practically every episode shared this episode’s dark tone and it became very wearisome and the whole argument over Spike’s potentially homicidal tendencies has been flogged to death and yet Sleeper manages to do something very unique and interesting with the concept, stripping it right down to the basics of a killer prowling the streets and a Slayer trying to stop him. Spike’s house of horrors, where he has buried all of his victims, is one of the most creepy locales ever seen in Sunnydale and leads to the marvellous scene where all the vampires burst from the ground at once. The allusions to Alfred Hitchcock’s Vertigo are apparent but only serve to strength the overall feeling that a great deal of care has gone into constructing this drama. Every episode this year has felt very different but has contributed beautifully to the overall story being told and it really feels like things are accelerating now. The Big Bad is on the move, and everything is about to converge on Sunnydale. Exciting times: 8/10
Never Leave Me written by Drew Goddard and directed by David Solomon
The Chosen One: Finally Spike gets to be completely honest with Buffy. He is tied up and she is listening so there is no better time for them to talk through their destructive relationship. Buffy hated herself in season six and she took it out on Spike, both making love to him and by violently beating him too. Perhaps that is why she can’t dispatch him, because she feels she owes him a debt of some kind for abusing him so badly when she was at her lowest. Even Spike asks why Buffy can’t finish him off and offers her an answer – that she likes men who hurt her. That is opening a massive can of worms that I’m not sure that the show has time to deal with but it’s certainly a possibility given her choices of partner to date. Buffy vehemently denies the claim and states that she doesn’t hate herself anymore and doesn’t need that sort of pain to do her job.
Gorgeous Geek: There is a key scene between Anya and Xander after they first tie up Andrew which shows a gentler interaction between the two of them than we have otherwise seen this year. It’s evidence that they could make it as friends (or even perhaps rekindle their passion at some point).
Super Geek: If you would have told me last year that Andrew was going to be one of the major characters of the shows final season and that he would wind up being one of my absolute favourites I probably would have laughed until I dropped. He was irritating as sin in parts of season six, only really coming into his own when his rocket pack so spectacularly failed to fly him to safety and he was forced on the run to hide away from Dark Willow. Obviously the producers saw something in Tom Lenk and I’m really pleased that they did because once you strip away all those pathetic attempts at villainy he is pretty neat character; vulnerable, silly, a little bit pathetic and a great deal of fun. Many of the best moments of the second half of the season feature Andrew in some way or another. Once they realised that he worked as a hostage within the Scooby gang the writers really ran with it. As soon as Goddard chose to introduce Andrew with a gag at his and Spike’s expense I knew that we were onto a winner. He looks absolutely ridiculous dressed up in leathers and trying to act the hard man. Andrew has always been a bit effeminate but this is the first instance when the script points out that he might be gay (gazing lustfully at the thought of Patrick Swayze). He’s such a doofus that instead of realising that the First is the same person taking on different peoples forms he thinks that he is directly speaking to the ghosts of both Warren and Jonathan. At this stage Andrew is little more than an inconvenience (although he does have information about the Seal that comes in useful) and there for everybody to vent their frustrations upon (perhaps not ethically right but when it comes to scenes like Anya going completely berserk and slapping him around the chops I was laughing my head off). I like how even in the episodes darkest moments there is still time to play out the gag that nobody knows who Andrew is. He’s the Sue Heck of Buffy.
‘Meaning I have come to redefine the term pain and suffering since I fell in love with you’ – Spike makes an excellent point, it’s been nothing but pain and suffering since he lost his heart to Buffy.
‘Maybe its another musical. A much crappier musical.’
‘You think you have insight now because your soul’s drenched in blood?’
‘I was going to bleed Andrew but you look a lot better with your shirt off.’
Result: Never Leave Me proves how far we have come in a year. Early season six was plagued with episodes that seemed to revel in inactivity, where everybody seemed to sit around avoiding talking about their feelings and no central narrative appeared to be emerging. This is a bottle episode of sorts, aside from some location work we don’t really venture out of the Summers household but there has already been such an abundance of plot this year that the momentum the continuing plotlines steam roller through this piece. It’s also written by newcomer Drew Goddard so the memorable dialogue comes thick and fast and the character interaction is on fire (check out his episodes of Alias too – he wrote some memorable stories). I really like how the intimate (the internal dramas of the Summers household) and the epic (the Watchers Council in England being prevented from going to war with the First) are bedfellows in Never Leave Me, exploring the best of both worlds as this massive jigsaw of a season arc continues to build. It’s a series of one-on-one confrontations that range from hilarious (Andrew and Willow’s villain-off) to personal (Buffy trying to get through to Spike) to the even more hilarious (Anya & Xander’s good cop/bad cop routine). In amongst all this exposition there is still time to dispense with the Watchers Council, turn the light of suspicion on Principal Wood, introduce a spectacular nasty, reveal the identity of the Big Bad and feature possibly the most exciting fight sequence to ever take place in the Summers household. Every episode feels like it is packed with treats this year and nine episodes in and there hasn’t been a single dud yet (Lessons was perhaps sub par in its own plot but as set up for the season it was exemplary). I cannot think of another season of this show that has kicked off with such determination and style. Here’s hoping it continues: 8/10
Bring on the Night written by Marti Noxon & Doug Petrie and directed by David Grossman
What’s it about: Buffy faces the vampire that vampires fear…
The Chosen One: Pulling an all nighter, Buffy is falling asleep in front of the students that are seeking her guidance. Beaten, bruised and bloody at the finale, we’ve never seen Buffy quite so abused before.
The Key: Dawn’s having fun slapping Andrew round the chops and trying to wake him up. Did I tell you how much fun I am having with this character this year? It’s a bloody good thing that social services don’t turn up at Buffy’s house to check up on Dawn now what with the windows boarded up and the manifest of squatters that have taken residence.
Ripper: There is a massive question mark hanging over Giles at the moment that wont be resolved for quite a few episodes. The last time we saw him he was facing certain death as an axe was about to get very friendly with his neck. Now here he is in Sunnydale, head intact, and ready for battle. Once again season seven is patient with its mysteries, dealing with those it has already set up, and enjoying the ambiguity of not giving all the answers immediately. We know that the First can only appear in the guise of those who have passed away so there is every possibility that Giles might be dead.
Witchy Willow: Willow is willing to do whatever she can to stop the First but it would appear it can manipulate her magicks and turn it against them. She’s left terrified that the darkness that consumed her last year is still inside her and begs for them to not use magic as an avenue.
Gorgeous Geek: Xander believes that they are all stuck in a mummy hand style time loop where the Summers house is continually destroyed and put back together. As much as he might not care to admit it, Xander has found a soul mate in Andrew, somebody who is as geeky as he is and not afraid to show it.
The Potentials: I know some people that consider all of these characters as the spawn of Satan. It’s a bit of an extreme reaction but I do have to admit that the idea of the Potentials may have been much better in theory than it was in practice – at least at this point in time (I had more than adjusted come the final run of episodes). The biggest problem is the overwhelming personalities and the hideous accents that some of the characters sport (especially Molly whose cod-cockney is so utterly dreadful it might just be the worst interpretation of the country I have ever seen attempted on American television). Suddenly the repeated motif of girls being slaughtered around the world from the first couple of episodes makes sense, they are all potential Slayers who could be the next in line if Buffy dies. The First plans to kill Buffy (the person responsible for many an apocalypse) and then prevent any of her replacements being called. I said it was a devious git. At this stage we are introduced to Kennedy, Molly and Annabel. I like Kennedy because she has a bit of spunk to her (and clearly has eyes for Willow), I’m completely at a loss at what Molly is saying much of the time but her dress sense suggests hippy parents and Annabel is the worst kind of person, one who preaches an awful lot but does practice her own dogma. Listening to Molly and Annabel talking is like the show is suddenly taking place on an alien planet.
‘As Neanderthal man are to human beings, the Turok-han are to vampires. They are the vampires that vampires fear…’ – okay, that’s a pretty scary idea. Not just vicious bloodsucking fiends but ones that are completely without intelligence and rely purely on bloodlust and instinct.
‘We don’t know how to fight it. We don’t know when it will come. We can’t run, we can’t hide. We can’t pretend it’s not the end because it is. Something’s always been there to try and destroy the world and we’ve beaten them back but we’re not dealing with them anymore. We’re dealing with the reason they exist. Evil, the strongest, the First. I’m beyond tired. I’m beyond scared. I’m standing on the mouth of Hell and it is going to swallow me whole. And it’ll choke on me. We’re not ready. They’re not ready. They think that we’re just going to wait for the end to come like we always do. I’m done waiting. They want an apocalypse…we’ll give them one. Anyone else who wants to run, do it now because we just became an army, we just declared war. From now on we wont just face our worst fears, we will seek them out. We will find them and cut out their hearts one by one until the First shows itself for what it really is. And I’ll kill it myself. There is only one thing on this Earth more powerful than evil and that’s us. Any questions?’ This could have been the most dreadfully clichéd lot of nonsense but it is delivered with such care by Sarah Michelle Gellar that it becomes a genuinely empowering mission statement. Bravo.
Dreadful Dialogue: ‘With the magic going all arrrggghhh and me going all eeeeeee and everything getting all urrrghhh…’
The Bad: Whilst Bring on the Night down accelerate the season arc considerably before the credits roll, it does take a little while to get going. The first fifteen minutes are just padding until the Potentials show up to take their place. The random mention that it is Christmas comes out of nowhere, seemingly to tie in with Amends. Buffy just randomly falls down a hole into the First’s lair?
Orchestra: The music has been so good this year I have started taking it for granted. Check out the awesome fight score during the climactic battle between Buffy and the Turok-han, matching the industrial setting with some dramatic, metallic notes.
Showtime written by David Fury and directed by Michael Grossman
Sexy Blond: Showing the bond that has developed between them, Buffy is desperate to find some kind of vulnerability of the First’s because Spike is running out of time and Spike whispers quietly and certainly that he knows she will come and save her. I can’t believe how they have managed to turn this around and make it a believable transition but Buffy and Spike are now the shows guiding relationship, one that is out in the open and raw with emotion.
Witchy Willow: Kennedy is trying awfully hard to appeal to Willow and it is clear that there is some interest but perhaps it is still a little too soon after Tara’s death for her.
Super Geek: Andrew is still tied to a chair which is funny when you think he has been stuck in that position for nearly three whole episodes.
Potentials: Despite how much she may go on to gripe and moan and wail before the end of the year, Rona feels real to me in a way that manufactured characters like Molly and Annabel never do. Here’s a kid who feels genuinely out of her comfort zone who has a life outside of this setting. Stepping off the bus to Sunnydale and being surrounded in the dark by Bringers might not be what she was expecting when she fled to California but it is the life she is stuck with now. Kennedy automatically becomes the most appealing Potential because she’s the only one willing to muck in and fight instead of moaning that she isn’t capable like the others.
‘The world would have been better if Buffy had just stayed dead.’
Dreadful Dialogue: ‘Welcome to Thunder Dome’ does not sound right coming out of Buffy’s mouth.
The Good: I can’t decide whether the Beljoxa’s Eye is an insane attempt to do something a bit different or a hideously unconvincing prop that Anthony Head and Emma Caulfield have to try and interact with. There’s simply no way to be sure because I have never seen a giant pulsating eyeball constructed out of smaller, blinking eyes before, with the optic nerve trailing behind in the breeze. However it is one of the more diverting scenes in the first half of this episode so I’ll give it a pass. It turns out that the only reason the First is back is because of the disruption in the Slayer line when Buffy was brought back to life. The two of them are inextricably linked on some way.
Result: The trouble with Showtime is that it is dealing with all the leftovers from the previous episode and doesn’t have much of an identity in it’s own right. I doubt you’ll find many people reaching for their shelves and grabbing this when they want to watch a single episode of Buffy one evening. My biggest problem with Showtime is that it should (and could) be full of surprises but instead it signposts every twist and turn making this one of the most predictable episodes of late. The First has proven to be a terrifying and cunning foe until now but the Eve deception is so ineptly handled it almost feels as though it wanted to be caught (why not just hide Eve’s body so it could have permanent mole in the camp?). There is something very staged about this whole episode, something artificial that just doesn’t feel right somehow. First time (and last time) Buffy director Michael Grossman seems a little at sea with all the activity going on, unable to convincingly stage group conversations or make the lead up to the climax look anything but planned out in robotic stages. What a shame that the last two episode should have stuttered so because until then season seven was progressing skilfully at a rate of knots but perhaps this is the pay off from so much excellent set up. I hope the show isn’t going to run on the spot like this just to delay the final fight between Buffy and the First and that there are more avenues to explore before the series ends. This is a desperately awkward piece of drama and for me the weakest episode of the year: 4/10
Potential written by Rebecca Rand Kirshner and directed by James A. Contner
What’s it about: Dealing with the sticky subject of Dawn being the next Slayer…
The Chosen One: Although she is dispensing good advice, Buffy’s role as the leader of the Potentials does mean that she becomes steadily more dictatorial throughout the season. Be prepared to hear her making long winded, inspirational speeches from now until the finale (although also be thankful that there are people around like Andrew to take the piss). Cue Potential which deals with the often talked about but never realised (beyond a moment in the first episode of this season where Buffy was seen training Dawn to dust vampires) idea that Dawn could be the Slayer. It’s clearly an idea that has never popped into her head before and her first thought is that Buffy would have to die in order for her to be called and fulfil that part of her life. Anya sums it up perfectly when she sums up the whole potential Slayer gig: ‘if she gets to be the Slayer then her life is short and brutal and if she doesn’t then it smells of unfulfilled potential.’
Sexy Blond: Buffy is using Spike as her vampire in hiding during her training sessions but things get a little sexy as she beats him a little too hard.
Super Geek: Andrew’s dialogue is top notch this week in his ability to make you laugh and cringe at the same time. First he turns Dawn’s calling into a Star Wars parody and then moulds their conversation into a metaphor for womanhood.
The Potentials: Introducing Vy, a sweet redhead who is out of her depth. She reminds me of where Willow was back in season one but with better dress sense (not much better…but then Willow’s clothes back then were the pits). Sarah Hagan made a brief appearance as Amanda in Help and returns as the twist Potential in this episode, a shy and slightly awkward girl who nevertheless is very likable to be around. Molly is still the most ridiculous English stereotype (her ‘Halt!’ when handling a crossbow might actually be insulting enough to destroy international relations between the UK and the US permanently) which is a shame because the actress, whilst struggling with the fake accent, is actually rather sweet. Had she been allowed to play this role with her normal accent things might have been different but as it stands that Bringers axe cannot be wielded soon enough. I love how fatuous the Potentials are being about their training, spotting the chemistry between Buffy and Spike, when she walks out on them, leaving them with a stake and vampire to deal with themselves. That soon wipes the smirk of their faces.
‘Wow it’s like one second you’re this klutzy teenager with fake memories and a history of kleptomania and then suddenly you’re a hero. A hero with a much abbreviated life span.’
Dreadful Dialogue: ‘I like the feel of wood in my hand’ ‘Lost me there’ – okay we get it, Kennedy is a lesbian. No need to drive the point home.
‘That cloud hit me and I got a little dizzy and discombobulated…’ – sometimes Kirshner’s dialogue struggles to sound realistic.
The Good: Finally somebody has thought about attempting to forge these girls into some kind of an army. Within this setting of Slayer training school Buffy feels more like a leader than ever, giving out invaluable advice to the Slayers in waiting. I really enjoyed the scenes at the demon bar, mostly because it was a chance to reunite with Clem who I wish would turn up in the show more often than he does. It feels like we are back in season one-three territory as we explore a deserted and shadowy Sunnydale High with Dawn and Amanda in some very nicely directed scenes. It’s been a while since the threat was just a commonplace vampire (when did soulless fiends become commonplace?) and shot of him hanging from the ceiling in a classroom waiting to prey on the girls is enough to give you the willies. It reminds me of when these guys really were the central threat in the first few years of the show. Intercutting the scenes of Dawn and Amanda being menaced in the school with Buffy teaching (and lecturing) the Potentials ties the two plots together with a neat bow. The director manages to generate a great deal of energy in this sequence as we cut from one narrative to the other, indulging in some neat stunts (the Bunsen burner attack) and climaxing on a great surprise (Buffy abandoning the Potentials to their fate). The Bringers leaping through the window at the last minute and inadvertently saving Dawn whilst attempting to murder Amanda is a wonderful turn that comes from nowhere but makes perfect sense within the context of the season.
The Bad: I don’t exactly buy the idea of Dawn and Amanda being on two sides of the same door and the light from Willow’s spell working its way through one of them to get to the other. Surely there must have been a more imaginative way to suggest the confusion? And then Amanda and Dawn just happen to bump into each other in the street after the former has been attacked by a vampire in the school? Hmm… Xander turning up and overhearing Dawn’s motivational speech to Amanda at the climax is clumsily done too. And Buffy magically turning up on the scene to sort the Bringers out. Why has the plotting on this show gone to plot in the last couple of weeks? At least Potential has other strengths to fall back on.
Result: A sweet little episode with a few problems but remains afloat thanks to its gorgeous character moments and a memorably hectic climax. The idea of Dawn being the next Slayer in line must have crossed your mind before and this is the drama that attempts to deal with the concept, whilst the season still has time to play with the idea. Michelle Trachtenberg grasps hold of the opportunity to take centre stage and delivers a terrifically confident performance, showing Dawn’s frustration, then confusion and finally her humility when she realises she isn’t going to take the mantle from Buffy. Xander has been a quiet contributor this year but is afforded his strongest scene so far, offering Dawn the emotional support she needs in the tearjerking final scene. Rebecca Rand Kirshner’s scripts always falter in one area and this time it is her plot logic which ensure that the most incredible co-incidences occur so this episode can play out the way it does. However her dialogue is mostly excellent and the duel plotlines of Dawn and Amanda being menaced at the school and the Potentials being forced to tackle a vampire solo give the concluding scenes a real lift. The middle period of season seven is where the season arc falters but Potential is a little gem nestled inside that four episode stretch and one with enough treasurable moments to rate it way above average: 7/10
The Killer in Me written by Drew Z. Greenberg and directed by David Solomon
What’s it about: Willow is haunted by her love for Tara and the murder of Warren…
The Chosen One: There is a real feeling that the bond between Buffy and Willow has been re-established, talking about their respective patients (read: other halves) in the kitchen. Buffy gets the choice to either repair Spike’s chip or remove it, a decision that will return to haunt her many times (thanks to Giles) before the end of the season.
Ripper: We still haven’t seen Giles touch anything so there’s no assurance that he isn’t a guise of the First. I like how the writers trust the audience to figure this one out for themselves, waiting a full four episodes before pointing out that he hasn’t touched anything and could be a villain.
Sexy Blond: It is long past time that Spike’s chip was dealt with. It has been hanging around his neck like a chain for three seasons now but his character has developed to a point where he isn’t about to go feeding on a whimsy (unless some manifestation of evil starts singing a cute little ditty in his ear).
Sparkling Dialogue: ‘Remember when things used to be nice and boring?’ ‘No.’
‘Who you gonna call? God that phrase is never going to be used again, is it?’
The Good: The idea of Willow turning into Warren as an expression of guilt for getting over Tara is a neat one and one that the director has fun skipping back and forth between the two characters. I love all the comical confusion over Willow being the First (Xander backs away like a big baby), Buffy walking into the room and calmly punching Warren around the face (lets skip over the fact that she should believe he is insubstantial) and Spike on the sidelines writhing in pain. It has that feeling of Buffy madness to it that has been missing the last couple of weeks. The direction during the Initiative sequences is pure horror movie, turning the lights right down and throwing demon rejects that were long thought dead at Buffy and Spike. I really like it when Buffy starts firing off in other directions and the sudden appearance of the soldier boys in the Initiative certainly qualifies. The recreation of the end of Seeing Red is excellently done even if all this gun waving does make me edgy.
Result: The last of the awkward middle episodes of season seven but actually far more effective than you might have been led to believe. The Killer in Me at least feels like an episode in its own right (unlike Bring on the Night and Showtime) but it definitely has a feeling of picking up all the loose ends of stories gone by and tying them all up before we head towards the final run of episodes. It deals with Spike’s chip (which has been running since season four), the fate of the Initiative, Amy and Willow’s guilt over Tara and Warren’s deaths. The only part of this episode that engages with season sevens arc is Giles out in the desert and that proves to be the best scene in the entire show, a hilarious reminder of how funny this show can be. It’s a busy story and doesn’t really have the time to deal with all of it’s narratives substantially which leaves the whole thing feeling stretched pretty thin but the up side is that if you don’t the current scene there will be something along in five minutes that might be more to your liking. The performances are great, especially Alyson Hannigan who once again proves why she is the greatest asset to this show and the director ensures that it flies by like a dream and has some memorable moments (re-staging Warren’s attempted murder of Buffy with Willow in his place is fantastically done). Conceptually this plays out like a fairytale, a kiss from Kennedy breaks the spell and Willow can let go of her guilt but it feels like a easy way out for a show that is usually more psychologically probing than that. It’s such a uneven mixture of good and bad that it is one of the hardest episodes of the year to judge. I know people who loathe it beyond comparison (and with the awkward characterisation of just about everyone, especially Amy, I can understand why) but I found enough to enjoy to at least scrape a pass. The heart of season seven has completely lost it’s way but fortunately the show is about to get back on track in magnificent form for it’s final stretch: 5/10
First Date written by Jane Espenson and directed by David Grossman
The Chosen One: Buffy is convinced that she has seen into Spike’s heart and knows that he can be a good man. She has become a real advocate for the character, defending him to Giles. I would like to head back just two or three seasons and tell Buffy that she would be rallying for her mortal enemy. It is another sign of how characters evolve so dramatically on this show. Her point that he will never get the opportunity to be a good man I they don’t give him the chance is a very good one. Buffy does feel attracted to Robin Wood but she’s unsure if that is because she suspects he is up to no good…perhaps she will always have a thing for bad boys. He’s about ten years older than Buffy which is about a hundred years younger than her usual type. She learns that she was manoeuvred into her position at the High School not for her counselling skills but because Wood wanted to be close to the Slayer during this latest crisis.
Sexy Blond: The First says that it isn’t time for Spike yet and he and Giles exchange a dark look. Watch out for this two, people. Spike pretends he is fine with Buffy going out on a date with Robin but in reality he seizes the first opportunity to interrupt.
Vengeance Demon: First Date pushes Xander and Anya in a direction that I have longed to see them go in ever since they split up at the altar, despite the dramatic opportunities that has provided. Anya cannot control her jealousy when discovering that Xander has a date and stays up like a worried parent desperate for news that it either went terribly or he wound up dead.
The Potentials: I don’t care what anybody says…I love Chao-Ann! The comedy that brews around her character might not be subtle but it sure did make me laugh. Is it a co-incidence that we haven’t seen Molly for some time now and instead the safer bets Amanda and Kennedy are fronting the Potentials?
Sparkling Dialogue: ‘Like a bidet of evil!’
‘Confidentially a lot of her people are murderers…Anya and Willow and Spike…’ ‘Interesting, and you’re the only one she makes seek redemption?’
‘Are the flashcard monsters attacking?’
The Bad: The whole angle of Xander being tied up and bled is rather haphazardly handled. Because the Buffy/Wood scenes are getting all the attention it feels like the Xander/Lissa storyline is short changed. The quick cut to Xander at her mercy (forgoing showing us the scene where she reveals that she is evil) feels too sudden and awkward. Also the dialogue surrounding Xander wanting to turn gay lacks any of Espenson’s normal sparkle.
Fashion Statement: Principal Wood looks smoking hot when he is wielding a stake (no that isn’t a euphemism). It’s not until he is suspended upside down with his top off that you realise that Nicky Brendon has put on a lot of weight.
Result: What at first feels like a diversion from the season arc actually winds up having a great deal of significance, First Date is precisely what was needed at the this stage of season seven and that is a massively entertaining Buffy episode to remind us why this show is so much fun to watch. The First is still trying to kill off the Potential Slayers in new and devious ways but the majority of this episode focuses on the very interesting relationship that is developing between Buffy and Principal Wood. D.B. Woodside is a huge draw and he brings a presence to the show that many of the guest stars simply don’t posses and his reaction to the truth about who killed his mother closes this episode on a spine tingling moment. Jane Espenson’s knack of writing zippy dialogue is really in play and there are many amusing moments dotted about from Anya’s petty jealousy of Xander’s date to the latest foreign Potential in town. This is the sort of episode that season seven was showing off in it’s opening salvo; something that makes you smile, is packed with substance thanks to the unfolding arc but also handling it’s characters with real verve. I always come away from First Date with a grin on my face and a feeling that things about to get a lot worse. Another entertaining installment of this incredible final year: 8/10
Get It Done written and directed by Doug Petrie
The Chosen One: Buffy’s role as a leader is one of the main focuses of the latter half of season seven and this is the point where she stops going easy on everybody and starts to pound home that they are all going to have to up their game in order to survive this fight. Sometimes the role of a leader is to be the one that everybody hates or fears, so that your army is cajoled into behaving in extraordinary ways. She does have a strong group of people supporting her but they all seem to have been castrated of late. Willow is only dabbling with light spells, Spike has gone from vicious killer to a man seeking redemption and the Potentials all doubt themselves and their ability. As horrible as it might seem, after Chloe commits suicide Buffy has an opportunity to drive the point home that they are not ready and they have to toss away their insecurities in order to transform themselves. During her trip to the realm of the First Slayer Buffy learns that she isn’t the Hellmouth’s latest guardian, she is the last one. Whatever is coming it is going to affect the Slayer line in a very profound way. Buffy is smug in the fact of the Shadow Men, rejecting their dark gift and refusing to become something other than human in order to defeat the First. However they show her an image of what is to come that makes her instantly question whether she has made the right move.
Witchy Willow: Willow has always warned Kennedy that the magicks that lie within her are dangerous but this is the first time she has come face to face with that power.
Vengeance Demon: Anya is getting desperately horny in the wake of her split with Xander and tries her luck with Spike again, who is relieved to have an interruption from one of D’Hoffryn’s assassins. Aside from providing much needed sarcasm Anya is also there because she is too scared not to hang out in the protection that Buffy’s shadow affords. When it comes down to it and Buffy is lost, it is Anya who points out where everybody is going wrong in trying to bring her back.
The Potentials: Kennedy is having a little too much fun ordering the Potentials about and instilling some discipline but it’s precisely the sort of training they need to turn them into a fighting force.
Sparkling Dialogue: ‘You’re like a dog with a bone!’ ‘So what?’ ‘It’s my bone, just drop it.’
‘Oh thank God. If I had to explain all these weapons I had nothing.
Fashion Statement: Spike’s jacket. Clearly the essence of his cool. Willow looks awesome when the magic drains out of her, her hair dark and her T-shirt taken on a psychedelic hue.
Storyteller written by Jane Espenson and directed by Martia Grabiak
What’s it about: A day in the life of Andrew Wells…
The Chosen One: In what might be the best gag of the year Andrew walks out of the kitchen as Buffy goes on one her inspirational rants and films the rest of the group looking deathly bored as she drones on and on. Buffy hasn’t lost its ability to take the piss out of itself in the most hilarious of ways. We even cut away to a dream sequence and then minutes later Buffy is still lecturing them. Brilliant.
The Key: Dawn is clearly learning to like Andrew although he almost blows it by comparing her to a set of keys that is lying on the table.
Sexy Blond: Spike likes to pretend that he isn’t interested in being filmed and yet retakes his objections because the light doesn’t capture him at his best!
‘Even Willow looks bored and she can usually take a lot of that stuff.’
‘Turns out everyone likes a good goats tongue. Rock groups, covens and Greek cookbooks.’
‘You put your old murder weapon in with our utensils?’ ‘I washed it…’
‘You stabbed Jonathan to death! What were you trying to do, scratch his back from the front?’
‘This isn’t some story where good triumphs because good triumphs. Good people are going to die. Girls. Maybe me. Probably you. Probably right now.’
The Bad: The only thing I don’t understand is how tears turn the Seal off. What the hell is that all about? But it does allow Andrew to finally face up to the truth about himself.
Lies My Parents Told Me written by David Fury & Drew Goddard and directed by David Fury
The Chosen One: Any apocalypse that Buffy can avert without dying are the easy ones. In any other show that would sound like a boast but for a character that has risen from the grave twice it’s just another day at the office. Giles believes that Buffy is very good at making bold speeches but when it comes down to it isn’t willing to make the bold decisions. I love how Buffy empathises with Wood about losing his mother but follows that up with the promise that if he tries to do anything to hurt Spike again she wont stand in the way when her ex-lover kills him.
‘All the rubbish people keep sticking in my head. It’s a wonder there’s any room for my brain’ ‘I don’t think it takes up that much space, do you?’
‘I have become a creature of the night. A vampire’ ‘Are you drunk?’ ‘A little bit…’
‘Do you think you’ll be able to love her? Do you think you’ll be able to touch her without feeling me? All you’ve ever wanted was to be back inside and you finally got your wish, didn’t you? Sank your teeth into me, an eternal kiss.’
‘This is the way wars are won!’
‘If you try anything again, he’ll kill you. And more importantly, I’ll let him.’
‘I think you’ve taught me everything I need to know…’
The Bad: It feels oddly like the reveal in Conversations with Dead People from Joyce regarding Buffy and Dawn was supposed to be part of a much bigger plot later in the season but has been forgotten. As such Giles’ quick line about Buffy being unwilling to save Dawn if she had to make the choice between her and the world again is dropped in here and then promptly forgotten. It was such a struggle for Dawn to get to Joyce in that episode that this doesn’t feel like adequate pay off.
Fashion Statement: Anya complains that Spike seems to have some kind of get out of jail free card when it comes to Buffy paying no attention to how dangerous he is. I think it’s just because he looks great with his shirt off.
Dirty Girls written by Drew Goddard and directed by Michael Gershman
What’s it about: Caleb rocks up in town to rain death upon the Potentials…
The Chosen One: It might seem as though Wood is being petty for firing Buffy from her job as school counsellor but he does have a good argument for doing so. It is getting to the stage where she needs to concentrate her attention solely on the girls and getting them ready for battle. She doesn’t want to lead them into battle because she knows that some of them wont make it out alive. That is a heavy burden for anybody to carry, but especially a woman whose very existence is built around saving lives.
The Key: Dawn has been so integrated into the show now it is easy to forget that she has only been around for three seasons. It’s strange to think that she and Faith have never appeared on screen together before, although the episode points out that they are not strangers.
Sexy Blond: There is definitely a powerful sexual charge between Spike and Faith in this episode and if the writers were testing the two characters as dry run for a new series then there are real possibilities here. Here they reminisce about old times, body swaps and warm champagne.
Rogue Slayer: ‘Are you the bad Slayer now? Am I the good Slayer now?’ Faith made a huge impression on the third season of Buffy, a psychotic rogue Slayer who went on a path of self destruction and tried to tear apart Buffy’s life in the process. Since then we have seen her on a road to redemption with Angel as her stalwart supporter, giving her a chance even when everybody has turned her back on her. She has been in prison of late but after an attempt on her life by the Bringers (a rare Buffy/Angel crossover in the latter years) she managed to break free and has returned to Sunnydale with Willow at the one point where Buffy cannot object to her presence. She needs every fighter in this war against evil, especially ones as proficient as Faith. It is a amazing how different the interaction between Willow and Faith is now, especially since their last meeting the former had her own brush with the dark side (in season three Willow was the meek sidekick and Faith always one beat away from smashing her face in but now we know Willow can look after herself). You might think that Faith devoid of her murderous tendencies might be half a character but Eliza Dushku has enough presence and chutzpah to pull off the removed version, whilst still giving her some bite. Naturally she isn’t welcomed with open arms at command central but unease amongst the heroes isn’t just her problem at the moment (it doesn’t surprise me that she and Spike wind up in the cellar together).
Super Geek: Andrew is on fine form, catching the Potentials up on the history of Faith (and the audience since it has been a while) and brilliantly misrepresenting the identity of her human victim in season three. This is the only time you’ll ever get to witness Faith taking on Spock (with cod Star Trek Original Series music) and it is hilarious. Silly, silly Andrew.
The Potentials: There was always going to come a time when the Potentials had to prove their worth and step into battle but the resulting massacre in this episode proves that perhaps they weren’t quite ready yet. I always thought that Rona was one of the more likable Potentials but all she does is complain. If it weren’t for Molly’s hideous British accent I would have preferred that she was the lamb sacrificed in this episode.
‘She wrapped evil around her like a large, evil Mexican serape…’
‘Don’t even tell me little Miss Tightly Wound’s been getting her naughty on?’
‘There was this choir girl in Knoxville that I had to give singing lessons too. She even screamed on key.’
‘The Slayer must indeed be powerful.
else you got?’
‘What can I say, I work in some pretty mysterious ways. (Molly is stabbed in the gut) And also some fairly straightforward ones’ – Caleb gets all the best lines (or perhaps it is just the way Fillion delivers them).
Fashion Statement: There is a wonderfully naughty sequence where we get a glimpse at the kind of wet dream Alexander Harris indulges in with potential Slayers coming on to him in droves, offering to put on a lesbian show and treating him to a pillow fight in their underwear. The result? Muscle cramp.
Result: This isn’t a show that is afraid to punish it’s heroes, is it? After a middle period where the First has appeared to have gone into retreat mode it is finally time to set the two armies on each other and see who has the upper hand. Who do you think? Dirty Girls is an episode that is packed full of goodies and not just the obvious ones like returning characters and new villains either. There are some very amusing sequences in amongst the drama (Xander’s wet dream, Andrew’s cod Star Trek fantasy), a speech is given from somebody other than Buffy (a miracle in itself) which melts the heart and the game changing fight at the climax is memorable for wiping out several Potentials we have gotten to know quite well and punishing Xander in a spectacularly wicked way. However the real bonuses to Dirty Girls are the appearance of Faith to take her place in the ultimate fight against evil and the introduction of Nathan Fillion’s terrifying misogynist priest Caleb. For a season that has been constantly introducing new elements it is hard to believe that it would continue to do so this close to the end but the introduction of these two characters are just about the finest innovations yet, a memorable participant for the forces of good and evil. Dushku and Fillion give phenomenal performances and I can’t wait to see what else they have to offer as the season gains momentum as we steam towards the climax. Funny, shocking and packed with great lines, Dirty Girls is another example of why I still miss this show ten years on. At this point it isn’t clear how this battle is going to end but it is apparent that it will come with a great deal of sacrifice on both sides. Powerful stuff: 9/10
Empty Places written by Drew Z. Greenberg and directed by James A. Contner
The Chosen One: ‘I don’t know if I can lead but the real question is…can you follow?’ Buffy wants to immerse herself in her work because she doesn’t want to face what has happened to Xander and the other potentials. She sees it as her personal failiure to prepare them all for battle and the easier option is tuck your head away and try and ignore the consequences. When Faith finally calls her on her decision to drag the girls to the vineyard, she gets a bunch of fives to the face. Sometimes Buffy is just too uptight for her own good and when she walks in on the scrap outside the Bronze she gets completely the wrong idea and tries to pull rank. The trouble with this girl is that she is often right (she was right to keep Spike alive given the events to come in Chosen, just as she is right about Caleb hiding something in the vineyard) but her in-yer-face approach often encourages a negative reaction.
Gorgeous Geek: There is a gorgeous moment when Willow sits at Xander’s bedside, devastated at his condition that is a firm reminder of the bond between these two characters that has been missing through much of the final year. Willow is trying to remain upbeat for her best friend but she can’t quite manage it.
Sparkling Dialogue: ‘You really do think you’re better than we are but we don’t know if you’re actually better. I mean you came into the world with certain advantages, sure. I mean that’s the legacy. But you didn’t earn it. You didn’t work for it. You’ve never had anyone come up to you and say that you deserve these things more than anyone else. They were just handed to you. So that doesn’t make you better than us. It makes you luckier than us’ – trust Anya to be the only person to make sense during the final tirade against Buffy. But then these two have always had beef with each other.
Fashion Statement: Buffy should have worn a less transparent top during the final scene. If the lashings of betrayal weren’t bad enough, we can all see her bra too.
Result: Mostly a filler episode, running over the same ground as the rest of the season with a real nasty turn of events at the climax that may just turn you off the show for good. Everybody is just hanging around and basking in their diabolical failiure in the previous episode, drowning in anxiety and pointing the blame at all the wrong people. In all fairness it is quite a realistic look at the aftermath of a lost battle, but the resulting television episode isn’t particularly likable. Thanks goodness that Caleb and Faith are around to inject a little interest, the former continuing to menace Buffy in some creepy scenes and the latter taking the girls out to blow off some steam at the Bronze. Even those scenes were handled better in the previous episode though. If people thought that Buffy was tortured in season six probably weren’t prepared for the pain that she suffers in Empty Places. She bears witness to the mass exodus of the town that she has pledged to protect, is beaten and bullied by Caleb and then has to bare the ignominy of having all of her friends and family turn against her and ask her to leave the house that she owns. It’s a despicable ending and even if some of what they say does strike a chord surely Buffy has done enough over the past seven years to be cut a little slack. It feels like the work of a writer who truly misunderstands these characters and it is doubly unfortunate that such a blemish should appear so close to the shows end. Dawn asking Buffy to leave might just be the nadir for the entire show, the point where I thought the writers might just have gone mad. Whilst it isn’t all bad I do kind of wish that this episode was never made and that Touched had followed Dirty Girls. It would have made a far more impressive run up to the finale: 4/10
Result: Emotions are running high but they handled so much more effectively in Touched than they were in Empty Places. This is an episode that gets quite a rough ride from fans of the show but their reasoning confounds me because it is one memorable scene after another. If you don’t like Buffy taking on the guise of a soap opera (and if not you are watching the wrong show and should probably have stopped watching around season two) then this might not be for you but it brings all the central characters (Buffy and Spike, Faith and Wood, Willow and Kennedy, Xander and Anya) into sharp focus and gives them a moment to reflect and consider their feelings before the preparations for the final battle begins. As a result it is a slow episode, but if you are invested in these relationships it is invaluable. This is precisely where the Buffy and Spike relationship has been heading for the past three years, to a point where he can step in and become her champion and it suddenly makes sense of the madness at the end of the previous episode. Gellar and Marsters have always sparkled on screen together but in their quiet moments in Touched they reach a new high, their relationship ascending to something much more substantial. The strength that he gives her thanks to their night together more than justifies her faith in him this season. There is a nice burst of action at the climax (especially the Buffy/Caleb fight, Matrix style) but that isn’t what this episode is all about. It is about reaffirming what is the greatest strength of this show when all the tricks and stylistic touches are out of the way: the characters. And it is the sort of the piece that reminds you what a privilege it has been to know them: 8/10
Result: Suddenly the show kicks into high gear as tension ramps up towards the finale and End of Days proves to be a near perfect set up for Joss Whedon’s final Buffy episode. Like most season seven episodes it is packed full of surprising goodies by this time everything is ramped up to eleven. You can savour the desperation and claustrophobia of the sewers scenes, the heart-warming joy of Buffy and her friends being reunited, the excellent ‘morning after’ sequence for Buffy and Spike, how Espenson and Petrie cleverly revealed a new layer of Slayer mythology, the sheer presence of the Scythe, Giles and Willow researching like old times, Anya’s gorgeous admission about humanity, another chance for Buffy and Caleb to go at each other and the final, triumphant return of Angel to the show. It really feels as if the show is winding up now but nothing about End of Days screams of a series that is past its prime, quite the opposite in fact. I wish Marita Gabriak had been discovered earlier because she is a perfect fit for the series and her two episode this season have been improved tenfold thanks to her polished, stylish direction. Sharp dialogue abounds and the character dynamics are at an all time high for season seven. Whilst there have been a few wobbles throughout the year, it has overall been an exceptionally strong batch of episodes and End of Days proves that the show was always heading in an exciting, climactic direction. It whets your appetite for the finale and then some: 9/10
Touched written by Rebecca Rand Kirshner and directed by David Solomon
The Chosen One: Buffy is at a loss at where to go and what to do and since everybody seems to be leaving town she breaks into somebody’s house and seeks refuge. We’ve never seen her quite this despondent before, all the fight drained out of her. This is the episode that we have been leading to with Buffy and Spike for the past three seasons, the episode where she realises just how much he means to her and what he has to offer. Buffy had so far to go to reach this epiphany, to see past the previous attempts on her life and their constant rivalry in the early season and see a man that has, as much as he has tried to fight it, fallen head over heels in love with her. Buffy has lost her head because she has been forced into a role where she is being asked to sacrifice the very people she is usually sworn to protect. She thinks that because she is the Slayer that she has always tried to push people away even when they have tried to connect with her.
Witchy Willow: There is some consideration of the Willow/Kennedy relationship which hasn’t ascended to the highs of Willow and Tara but it has been pleasant enough to follow. This is the first time we have seen Kennedy offer something other than her body to Willow and so there is a little more depth added to their relationship. Willow is terrified of the magicks boiling inside of her and what might be asked of her in the final battle with the First and just what form those powers will pour out of her in. Kennedy promises to ground her if she is ever getting out of control, to be her kite string.
Super Geek: Andrew’s idiotic blabber is used to good effect in this episode, the others unaware for a while that the Bringer is talking through his lips.
The Potentials: Now the Potentials have managed to get rid of Buffy the more outspoken ones (especially Kennedy) think it is their time to step into the limelight and have their say. The trouble is they try and do that by steam rolling over the opinions of people like Faith and Giles who have far more experience at this sort of thing.
Sparkling Dialogue: ‘There’s a translation of it? I’m over it…’
‘You are so lucky that you did not just magically decapitate me!’
The Bad: Just when they were starting to get some information out of the Bringer. Giles decides to slice its throat open. Why?
End of Days written by Jane Espenson & Doug Petrie and directed by Marita Gabriak
The Chosen One: Much like season four, it now seems clear that Buffy was torn apart from her friends only for them to be brought back together and make us all go ‘awww’ as they do. As soon as Buffy held the Scythe she knew it was a strong and she knew it belonged to her too. Buffy has come to understand that all war is about is needless, pointless death and she refuses to let Faith wallow in the fact that when she was in charge people died on her watch.
Ripper: Giles goes nuts over a Jaffa cake after Andrew raids the store, a little piece of home. Brilliantly he wonders how something like the Scythe could exist without him having heard about it – the writers hanging a lantern on the very questions that was posing in my head.
Rogue Slayer: Faith has reached a point where she can tell Buffy that she is jealous of her without wanting to rip her face off. Maybe the reason they are not supposed to get along is because there is only supposed to be one Slayer. Maybe because of the radical innovation that changes all that in the next episode means that they have potential friendship possibilities in the future.
Witchy Willow: ‘I can hardly do a locator spell without getting dark roots…’ Willow and Giles researching together, her at the computer, him pouring over scrolls and texts gave me a nostalgic thrill. Season seven has been all about pushing the series forwards and opening it out to new possibilities but it is lovely to have a reminder of where this show came from every once and a while. Especially so close to the finale. Giles is trying to prepare her for the possibility that her magicks may be essential during the final fight, something that Willow is desperately unprepared for still.
Vengeance Demon: There is an essential conversation between Anya and Andrew about why Anya has stuck around to fight instead of running away (especially now she no longer has an emotional tie to the group in her relationship with Xander). She has grown to appreciate that for all our flaws, humanity are not quitters and she respects that and wants to fight at our side to see it through with us.
Sparkling Dialogue: ‘Yeah there’s a plan. Get ready. Time’s up.’
‘I told you I don’t leave my crossbows around all willy nilly. Not since that time with Miss Kitty Fantastico’ – so that’s what happened to Willow and Tara’s kitty from season four who mysteriously vanished between seasons!
‘Let’s do it’ ‘Boy, you sure know how to rom-ance a girl!’
‘Thank God we’re hot chicks with super powers.’
‘I’m sorry, what’s your name?’ ‘Buffy’ ‘No, really?’
Chosen written and directed by Joss Whedon
The Chosen One: ‘I want you to get out of my face!’ I remember stating in my first Buffy review that I have had a running debate with a good friend of mine over the ability of Sarah Michelle Gellar. She doesn’t rate her at all as an actress so I was using this marathon review session to really watch and assess her throughout the run. The conclusion that I have come to is that my friend is wrong and that Gellar has managed to support an increasingly popular show and tackle pretty much any material that the show has thrown at her. Buffy has been a rich and complicated character, wise beyond her years in some ways, astonishingly naïve in others and managing to thrill, excite, frustrate and annoy at various points in the series. She’s Whedon’s first major creation and she’s still my favourite, a symbol of female empowerment with a cracking personality, flawed as hell and yet witty and wonderful too. There will always be something very special between Buffy and Angel and whilst they greet each other with a kiss it is clear that her heart now belongs to Spike and they have both moved on. When they see each other now a kiss is like the pair of them toasting what they once had. Buffy makes a good point that if Sunnydale falls then she needs Angel in LA as a second location of attack against the First. All very good and rational, but she also wants to get rid of him because the ‘champion with a soul’ that is supposed to wear the amulet isn’t Angel. And she has no way of telling him that, until he forces her. She can’t say that she is in love with Spike but does admit that he is in her heart and after everything he has done for her over the past three seasons that is something that Angel deserved to hear. When Sarah Michelle Gellar delivers her ‘cookie dough Buffy’ speech it is like we are back at Welcome to the Hellmouth again, all those years of wisdom dropping away as she realises that she doesn’t have to settle down if she isn’t ready. What’s brilliant is where the Buffy and Spike relationship is left, in a very complicated place with no sense of closure. She feels safe in his arms and spends her last night as the Slayer with him and yet they still can’t quite decide whether what they have is love. What thrills me about Buffy’s plan to activate all the Potential Slayers is her sheer selflessness, her willingness to hand of the mantle that she has coveted for so long to other girls who also deserve the same power as she wields. I realise there is a level of selfishness in there as well, that Buffy has always wanted a normal life but has been chained to a role that has denied it to her but it takes one in a million to stand up and say that they are willing to share the limelight with others, that they want to share their gift. The final shot of Buffy standing silently and smiling, her whole future ahead of her and not knowing what is to come, is a marvellously upbeat way to finish the show. She deserves this moment of peace, she’s earned it.
Ripper: I bet Anthony Head had no idea how taking on this role as a British librarian in a US teen show would change his life so dramatically. Already fairly well known, this really put him on the map internationally. There is a gentle moment between Giles and Buffy where he gives his consent to her plan to alter the Slayer line. I don’t think I could have stomached it had this show ended with these two still at loggerheads.
Rogue Slayer: In Joss Whedon’s hands Faith suddenly has a whole new way of talking, reducing every sentence to street talk and pop culture references. I actually prefer it this way, although it does feel like a slightly different character to the one from the previous four episodes. Faith has an extremely bleak view that one she has gotten down and dirty with a guy that is all she needs to know about him. Wood is going to set out to prove her wrong and change her worldview – some guys are worth your time. They are such different people that this might actually work.
Vengeance Demon: Her death is possibly the most real the series has seen. No fanfare, no eulogy, just a pointless murder in the middle of a battle. For straight talkin, no nonsense Anya I cannot think of a better way for her to go.
Super Geek: Andrew dressed up as Little Red Riding Hood mocking Giles at his piss poor performance at D&D is a highlight.
‘Looks like the Hellmouth’s closed for business’ ‘There is another one in Cleveland. Not to spoil the moment.’
The Good: As terrifying as he was, the final fight against evil was never going to be between Buffy and Caleb (and besides which we have seen them scrap endlessly over the past few episodes) but it is still nice for them to get to go at each other one last time. Buffy’s defeat, slicing him in two with the scythe, might just be my favourite death in this shows entire run. And you don’t even get to see it (its all down to Gellar’s facial expressions and delivery of ‘he had to split’). In an episode that re-affirms the shows message of female empowerment it is great to see Buffy crush the ultimate misogynist. Whilst Boreanaz hardly sets the screen on fire (a common problem when he is playing Angel), his sarcastic reaction to learning Spike has a soul is very funny. Did we need the first seven minutes of the finale devoted to a long character scene between Buffy and Angel? Frankly yes, because these characters came together in the first episode and it was only right for them to do so again in the finale (I love that Angel departs this series exactly how he was introduced, backing away into darkness). It wouldn’t be an episode of season seven without Buffy making some kind of grandiose speech but this time we cut away at the vital moment, the point where we learn what Buffy’s masterplan is. It’s probably the only time this year where I have wanted a speech to go on a little bit longer but spoilers before the final fight are strictly a no no. Where else could the final fight happen but at the Sunnydale High School? Whilst seasons five and six may have shied away from educational settings, they have always been the battlegrounds in every other year. I like the fact that Buffy takes the fight to the First rather than hanging around any longer and losing any more territory. The fact that it is trying to bait her is the first sign that it is scared of losing. I know that the CGI used in this episode might seem pretty primitive by today’s standards but I still think it captures the epic feel that Joss Whedon was going for on a meagre television budget. The technology used to bring the army of Turok-han’s to life (inspired by Lord of the Rings, I believe) is impressive and gives the impression of thousands of Ubervamps going through their paces as the Potentials stumble on their lair beneath the Seal. It’s a triumphant mixture of CGI and physical effects, the moment when they all look up in unison is supremely dramatic and is followed by the intimidating visual of them climbing the cliff face en masse to deal with the girls. It’s brown trousers time. Suddenly Buffy’s (or rather Joss Whedon’s) plan is revealed and it’s brilliant. To turn every potential Slayer into an actual one, to have an army of powerful women to protect the planet and to kick the First Evil straight back to Hell. To give women the strength to stand up to their oppressors (beautifully captured in the moment where a young girl is seen catching her abusive fathers hand before he can hit her). If there was ever a time to change the entire nature of the show, this is it and Whedon proves startlingly innovative to the last. We’ve been promised a final fight for ages now and it certainly doesn’t disappoint. It is carnage, excitingly choreographed and packed full of death and destruction. It’s the largest scale fight Buffy has ever attempted and it lights up the screen with chaos, evolving from the triumph of an army of Slayers tackling the First to the staggering defeat of so many of them being slaughtered. Buffy is stabbed through the back, Anya is killed in a heart stopping and spectacularly unheroic way mid battle, Wood takes a knife to the gut, Chao-Ann is seen being savaged in the neck and girls are seen having their spines broken and falling to the ground with blood running down their faces. In no way is this an easy final fight and I wouldn’t have it any other way. The sunlight tearing through the cavern and incinerating the Turok-han army is a staggering visual. The final indignity (although it buries the First and its defeated army forever) is losing Sunnydale, an earthquake tearing through the streets and the whole town vanishing into an abyss. I love the shot of the bus making its way towards the desert as we see row upon row of houses falling into the ground. Suddenly evacuating the entire town makes perfect sense. Out in the desert with its setting destroyed and it’s premise updated, Buffy can never go back to what it was again.
Moment to Watch Out For: The awesome moment where everybody departs in the school corridor and leaves the core characters on this show (Buffy, Willow, Xander and Giles) to enjoy one last scene of wit and good humour together before the final fight. Of all the great moments in the finale, this is the one that feels most right. ‘The Earth is definitely doomed…’ My other favourite moment comes when Buffy takes Spike’s burning hand and tell him she loves him. It feels like a massive reward for following their story and I am not ashamed to say I was in pieces. Oh and finally, the Welcome to Sunnydale sign falling into the canyon. Just brilliant.
Result: ‘Are you ready to be strong?’ Everything you could possibly want from a series finale of one of the best shows on television. Chosen sees Buffy the Vampire Slayer going out on a high, it that is quite a statement for a show that has been running extremely successfully for seven seasons. It has everything you would expect from a great Buffy episode; sunny characters and interaction, witty dialogue, twists and turns, a chance for the actors to stretch themselves and a bloody great big fight. This time however all bets are off and Whedon, famed for punishing his characters, can put anybody to the slaughter and change the series any damn way he likes. Instead he chooses to go out triumphantly, changing the whole nature of the series at the last minute and promoting the message of female empowerment with real style. The first half of Chosen is devoted to the characters and it is our last chance to catch up with them before the battle that seals their fate. There’s a real sense of the core characters of the show – Buffy, Willow, Xander and Giles – coming together again just like they always used to in the early days and it gives the finale moments of powerful nostalgia. Everybody is given some consideration though; Andrew’s hilarious speech, Anya describing the girls as ‘canon fodder’, Kennedy giving Willow reassurance, Faith and Wood discussing their future together. There is real feeling that even though there are sweeping events afoot that it is the characters that are the most important thing and it is the essential element that has made this show triumph where so many others have failed. When the finale fight kicks off it is like nothing we have ever seen before, a real attempt at pulling off a cinematic battle on a television budget. It’s not merely a case of good triumphing over evil, plenty of people don’t make it (Anya and Spike amongst their number) but the overall effect is that of giving the First Evil a damn good kicking. Full of wonderful intimate moments and radical sweeping reforms (Sunnydale’s demise might be the best creative decision in the finale), it embodies the best of the shows past whilst offering a tantalising glimpse at what could have been its future. At it’s heart is Sarah Michelle Gellar giving one last impressive performance. Between her a Whedon, this show was always going to smell of success. Season seven is much, much better than people give it credit for. Looking back over the whole seven years I think it might score the highest average in my marathon and it has certainly earned it, providing a roller coaster ride of nostalgia and innovation. Chosen is the icing on the cake: 10/10