First release: 09.18.95
Wow. Third episode and already such a clear picture of the themes that continued to be essential until the final episode.
The episode begins with Gabrielle with a sword in her hand, once again voicing her want of becoming a warrior and learning to use a sword (weapons). Xena plainly refuses and emphasises the difference between killing and surviving. She further states a belief that when holding a sword one needs to be ready to use it to kill, which she is certain Gabrielle is not. Thereby in many ways equalling being a warrior with being a killer. Gabrielle on the other hand does not appear convinced.
The story continues with the introduction of the first god of the show, an immaterial Morpheus who’s followers kidnap Gabrielle with the intentions of offering her as a sacrifice to their god. Xena uses the help of an old ex-mystic to find and retrieve her friend.
In the process Xena starts to have to deal with her past in a more tangible form. In order to save Gabrielle from death (all types of it) she embarks on a journey in the dreamscape and is faced with perhaps her greatest enemy, herself. In order to get to Gabrielle she has to face and overcome not only many of her victims, but her guilty conscious. To me this episode is a brilliant example that she was never a ruthless beast, no this was a warrior who remembered the names of her kills (otherwise Morpheus wouldn’t know them either). She more or less managed to repress this conscious for over 10 years which in itself takes a lot of strength, but to reveal it again and to start dealing with it…no wonder she was ready to give up in SOTP. And no wonder she is my hero and a symbol of female empowerment, there is a strength to this character that goes way beyond the physical.
Part of her wants to kill the past and the dark side, but as she discovers at the end, it is vital to whom she is today. Without the darkness she would not be Xena. A lesson that is repeated throughout the seasons and is revisited as late as the season six episode When Fates Collide. The other lesson she learns is that despite the darkness being ever present and important, she is ultimately the one to control it. The darkness does not exist on its own, as a separate entity from her good side, rather they’re two sides of the one.
Further of interest is that Morpheus tries to exploit Gabrielle’s innocence as a weakness of Xena’s. In order to prevent Xena from her goal (rescuing Gabrielle) Morpheus plays on her fear of Gabrielle picking up a sword and thereby losing herself. In her mind she fears that if Gabrielle would become a warrior she would be transformed into Xena and thereby be bound to repeat the same mistakes. Xena’s need for Gabrielle to remain innocent and separated from the world of war is in many aspects a way for her to try to right her own wrongs. This is also something we will see repeated throughout the series where Xena desperately wants to protect the innocence of others as a means of gaining back some of her own. The most obvious examples of this are Solan, Tara and Eve.
While Xena is busy battling her own self, Gabrielle is introduced to the concept of “blood innocence”, an individual without a human kill on their conscious and hands.
Gabrielle is kidnapped by Morpheus priests and is put through a series of challenges designed for her to lose said innocence and produce her first kill, and then in turn be worthy of sacrificing to the sleep god Morpheus. Before this point Gabrielle has not shown any remorse or obvious concern towards the death around them, such as Xena’s kill at the beginning of the episode. However during this episode Xena and Morpheus priests put a positive value in her blood innocence. Their actions produce the image of her life being worth more as long as her innocence is kept intact. At the end of the episode she is clearly effected by the consequences her killing would have, not necessarily because of the taking of a life, but how the world would start seeing/treating her. Don’t get me wrong the taking of a life most likely effects her as well, but there can be no denying that the perceptions of society matters as well. It is going to be interesting to see if this is the turning point from which the warrior is left behind and the bard is embraced. It would not surprise me at all. After all this is quite the trauma for a young woman and it would be surprising if it did not leave its marks. At the same time it sadness me. Moreover the parallels between this blood innocence and the importance our contemporary Western society place on women’s sexual innocence are as conspicuous as they are tragic.
We’re only at episode three and already we have developed an incredible intimacy between our two main characters who share a dreamscape. Without problem they find each other through their minds which is a delicious contrast to their interactions in the real world where they seem to suffer from a failure to communicate. They both live in their own worlds and do not appear to be able to see each other. Instead they only see their dreams and ideals reflected in one another. Gabrielle sees the strong and independent warrior in Xena, not the torn and tormented human being. Xena sees the inexperienced innocent in Gabrielle, not the ambitious and industrious woman with a self-interest.
Subtext
There’s not much to mention in this episode, because it more or less have them immersed in their own worlds and problems. However the intimacy of a shared dreamscape is a very pleasant stepping stone on the way towards the emotional subtext to come.
Though I guess I should mention the obvious, the breast dagger scene. No straight woman should be that aware of her friend’s boobs, period. And there definitely shouldn’t be any sporting of little smirks when your eyes are on your friend’s boobs. I’d say that falls outside of accepted heterosexual behaviour.
Conclusion
Surprisingly dark and depressing, but in my opinion a brilliant episode. It introduces important themes and develops both characters while providing us with a solid, if somewhat illogical, story adventure. The concept of blood innocence which will greatly effect future storylines is also introduced and touched upon. Gabrielle wanted to become a warrior, but the perceptions and reactions of the world around her forced her onto a different path. Her reasons for choosing other are not exclusively “noble” and morally correct as much as they appear to be a selfish decision based on her own personal gain (or in this case loss). I’ve written it before, and I’ll write it again, to simplify Gabrielle and paint her all white is a grave injustice to the character. No, this is a morally ambiguous and flawed character despite her worldly innocence.
“She has a fire about her.” -- I have to agree with the priests. Gabrielle’s got a helluva spunk. She wasn’t afraid to stand up to the physically superior slavers in SOTP. Here she’s captured by a God and she’s still got lip. At the same time ROC plays it brilliantly and there are subtleties to Gabrielle. She never loses her edge, but the fear and pressure can be clearly read on her face in some of the scenes and it is damn beautiful.
The final “ripples and churns” scene is a pearl and played beautifully by both actresses. Anyone claiming season one is only about finding one’s feet should definitely watch this episode.
Randomness & Memorable
- “Don’t be obvious.”
- Gabrielle doing the Xena war-cry.
- Xena referring to her dark side and the representation of it as “a disease I once had”.
- I also get a kick out of Gabrielle’s second “challenge” where we have a premonition of the birth and death of classical Gabrielle; tethering on the edge of a fire pit she modifies a spear into a staff.
- “She’s perfect,” in reference to Gabrielle :D
- As if Gabrielle hadn’t already made her point in the two previous episodes she now states “I’m not the wifely type.”
Thursday 28 August 2008
Witch - 1x03 (BtVS)
First aired: 17.03.97
Buffy, Buffy, Buffy. Is it possible to fall in love after the second watch? Cause I think I have.
Once again we see Buffy seeking normality and acceptance. This time in the form of cheerleading. She is determined to recapture the simplicity of life before becoming a slayer, a time in her life with which she associated cheerleading.
This episode sets the norm for what to come. Whereas the previous episode set the verse, this shows how the show deals with messages and social issues through storytelling. The paranormal world Buffy lives and fights in becomes one big metaphor for puberty and teenage life, but also contemporary life and problems in general. Emotional fact and fantasy fiction are spun into an television hour of entertainment (something that is true of both shows I‘m watching).
As the initial paragraph might reveal, what I love about the episode is Buffy. Willow is non-existent and not even the streaks of jealousy over Xander’s attraction to Buffy can bring her to life. Xander on the other hand I unfortunately do notice, but only to be annoyed at. I remembered him as at least rather cute in his blind devotion to his crush on Buffy. That is not something I can feel and at the moment he is as entertaining as the fly that spends all night buzzing around your room. However this episode does offer some interesting characters and interactions besides our hero. Both Giles and Joyce are allowed to stretch their wings and begin to establish likeable and realistic portrayals of people in their 30-40s. Then again it is largely because of Buffy and their positions as parental figures that they are allowed this interest and depth. Amy’s mother is also a very interesting character and played brilliantly by Elizabeth Anne Allen who more than enough deserves her position as a re-occurring character. It’s a little surprising we haven’t seen her in something else after this.
The main thing that have me worshipping Buffy is her perception and ability to act. Not in the sense of her slayer abilities in killing demons, but as a young human being. For example in the beginning when the cheerleader is set aflame Buffy is the only one to take action, immediate action. This was not a situation that required superhuman strength, thereby Buffy shows us that being a hero is more about a frame of mind than physical abilities. Later on we see a highly perceptive Buffy who, when no one else pays attention, directly notices that there is something wrong with Cordelia. She was also the first one to figure out the body switch that transferred Amy into her mother’s body and vice versa. This is what truly makes her not only a hero, but an impressive role model as well. However one cannot help wonder if her authority and hero quality is another consequence of her slayer powers or if this is what sets Buffy apart from other slayers. Personally I would rather the second alternative be true, because to me that makes her a lot more powerful both as a character and a symbol.
This episode also begins to play and make the tension between the sexes into an integral part of the show. While at the same time pointing out the ridiculous nature of it by having Xander referred to as one of the girls, and Willow as “one of the guys”.
The show paints a very complex and realistic picture of many contemporary broken families despite the paranormal disguise. It is a very vivid portrayal, but it is also a specific one in both culture and time. At the same time as it deals with more generic parent/child issues and philosophy through Amy’s mother’s attempts at transforming her daughter into a carbon copy as well as the general problems with finding a common ground between each other, across generations, to relate.
Conclusion
I had assumed that BtVS would deal more or less exclusively with teenage issues and that this re-watch might have left me unable to relate to the show. Which is both true and untrue. It does deal with life in general, but at the same time the setting is giving me shivers. It is not too long ago since I left puberty behind myself and the flashbacks into hormonal crazed insecuria are definitely not pleasant. However this can be overlooked because of the strength of Buffy as a human being and the beauty in her relationships with 'family'.
I definitely enjoyed this episode and the issues it raised. I’ve also always been a big fan of the relationship between Giles and Buffy which to me have always been more of a father/daughter one than a mentor/student one. It feels real and is very beautiful to watch.
Randomness & Memorable
- The introduction of the term “Slayerettes”.
- Barbie dolls used to cast spells.
- Buffy high on life (or well the spell) singing “I’m a macho man” while skipping around the kitchen.
- Joyce line “I don’t get it,” on how to relate to Buffy.
- “I laugh in the face of danger. Then I hide until it goes away.”
Buffy, Buffy, Buffy. Is it possible to fall in love after the second watch? Cause I think I have.
Once again we see Buffy seeking normality and acceptance. This time in the form of cheerleading. She is determined to recapture the simplicity of life before becoming a slayer, a time in her life with which she associated cheerleading.
This episode sets the norm for what to come. Whereas the previous episode set the verse, this shows how the show deals with messages and social issues through storytelling. The paranormal world Buffy lives and fights in becomes one big metaphor for puberty and teenage life, but also contemporary life and problems in general. Emotional fact and fantasy fiction are spun into an television hour of entertainment (something that is true of both shows I‘m watching).
As the initial paragraph might reveal, what I love about the episode is Buffy. Willow is non-existent and not even the streaks of jealousy over Xander’s attraction to Buffy can bring her to life. Xander on the other hand I unfortunately do notice, but only to be annoyed at. I remembered him as at least rather cute in his blind devotion to his crush on Buffy. That is not something I can feel and at the moment he is as entertaining as the fly that spends all night buzzing around your room. However this episode does offer some interesting characters and interactions besides our hero. Both Giles and Joyce are allowed to stretch their wings and begin to establish likeable and realistic portrayals of people in their 30-40s. Then again it is largely because of Buffy and their positions as parental figures that they are allowed this interest and depth. Amy’s mother is also a very interesting character and played brilliantly by Elizabeth Anne Allen who more than enough deserves her position as a re-occurring character. It’s a little surprising we haven’t seen her in something else after this.
The main thing that have me worshipping Buffy is her perception and ability to act. Not in the sense of her slayer abilities in killing demons, but as a young human being. For example in the beginning when the cheerleader is set aflame Buffy is the only one to take action, immediate action. This was not a situation that required superhuman strength, thereby Buffy shows us that being a hero is more about a frame of mind than physical abilities. Later on we see a highly perceptive Buffy who, when no one else pays attention, directly notices that there is something wrong with Cordelia. She was also the first one to figure out the body switch that transferred Amy into her mother’s body and vice versa. This is what truly makes her not only a hero, but an impressive role model as well. However one cannot help wonder if her authority and hero quality is another consequence of her slayer powers or if this is what sets Buffy apart from other slayers. Personally I would rather the second alternative be true, because to me that makes her a lot more powerful both as a character and a symbol.
This episode also begins to play and make the tension between the sexes into an integral part of the show. While at the same time pointing out the ridiculous nature of it by having Xander referred to as one of the girls, and Willow as “one of the guys”.
The show paints a very complex and realistic picture of many contemporary broken families despite the paranormal disguise. It is a very vivid portrayal, but it is also a specific one in both culture and time. At the same time as it deals with more generic parent/child issues and philosophy through Amy’s mother’s attempts at transforming her daughter into a carbon copy as well as the general problems with finding a common ground between each other, across generations, to relate.
Conclusion
I had assumed that BtVS would deal more or less exclusively with teenage issues and that this re-watch might have left me unable to relate to the show. Which is both true and untrue. It does deal with life in general, but at the same time the setting is giving me shivers. It is not too long ago since I left puberty behind myself and the flashbacks into hormonal crazed insecuria are definitely not pleasant. However this can be overlooked because of the strength of Buffy as a human being and the beauty in her relationships with 'family'.
I definitely enjoyed this episode and the issues it raised. I’ve also always been a big fan of the relationship between Giles and Buffy which to me have always been more of a father/daughter one than a mentor/student one. It feels real and is very beautiful to watch.
Randomness & Memorable
- The introduction of the term “Slayerettes”.
- Barbie dolls used to cast spells.
- Buffy high on life (or well the spell) singing “I’m a macho man” while skipping around the kitchen.
- Joyce line “I don’t get it,” on how to relate to Buffy.
- “I laugh in the face of danger. Then I hide until it goes away.”
Friday 1 August 2008
Chariots of War - 1x02 (XWP)
First release: 09.11.95
Granted there were both chariots and mentionings of war in this episode, but the title is a little strange. Misleading. This was an episode about family.
I’ve deliberately stayed away from this episode because according to my memory there was a love interest for Xena in this episode. For some reason I have a hard time accepting or appreciating those in the current timeline (with the exception of Marcus). It makes very little sense and it’s not because I am a lover of the subtext, for some reason I can accept a love interest for Gabrielle. With Xena…it just doesn’t feel right to me. Anyhow, as I was rewatching I kept my eyes open for the signs of a possible romance and love interest between Xena and the fair farmer Darius. The signs of romantic interest never did appear, until in the final scene which could be interpreted as him showing an interest in her staying on with them. No, I had gotten this all wrong, this was not about lover-boy of the week or Xena’s need to settle down. This was a story where Xena and the rest of the cast got to explore the concepts and importance of family.
The episode starts with Gabrielle telling a proto-soulmate type of story and Xena responds by expressing a belief in strength through solitude.
In contrast to the previous episode we now get to see a more human Xena who invests some emotion in the world around her. Physically the injury she receives forces some humanity on her, but also in her interactions with the little family. At the same time Xena does not see herself as part of any family (read the outside world), but she tentatively begins to make connections with it.
The story continues with Darius taking in the injured Xena and cares for her after she saves his son. An interesting parallel to the previous episode where the same actions gave her no sympathies from Herodotus. Her image and reputation is further established in this episode and peers of Mr Farmer pressure him into forcing her to leave. It becomes clear her reputation is just as difficult and painful to fight as the actual “evil”. Not only is she ostracised because of her past, but this episode sets up a scenario where warriors, as well as warlords, are not accepted by people in general. I’m looking forward to the following episodes to see if this attitude was something isolated to this episode, or if it can be felt throughout the season (and possibly series).
While Xena is getting a crash course in family life and deals with her intestines playing peek-a-boo, Gabrielle is left to her own devices and ends up cruising the bars. The fact that she is not an innocent is further re-affirmed when she has no problems dealing with the bartender or any unwanted attention. It is also made clear that she is aware of her appearance and others perception of her, by her making a reference to herself as innocent while talking to the drunken man in the bar. No one who is truly innocent will ever refer to themselves as such. No, this shows a good understanding of the world and how it works. Again I have to wonder where my perceived notion of her as innocent comes from.
After having made her advances on Sphaerus (better known as blue eyed soldier boy) the two end up having their own discussion regarding family. In which some important revelations are made about Gabrielle’s perceptions of a traditional family. They are discussing the duty one has to ones family and she tells the story of how despite her mother’s disappointment in her, she was not willing to “give up her future” through marriage and children. That she sees the possibilities of marriage and children as being incompatible with a future, tells a lot about this young blonde warrior wannabe. Not just about her view on her personal future, but also her belief that it is important to be able to stand up to everyone, family included. But it should be mentioned she is not completely against the idea of a family, she later in the episode tells Xena that she had begun to consider Sphaerus as her possible tree (family, children, marriage, commitement). Perhaps it was just a marriage with Perdicus that would lead to this lack of future?
At the same time Xena gets to taste the quiet life and throughout the episode she looks absolutely mesmerized by family and the concept of a life without violence. However this disbelief seems to be more of curiosity tainted by wistfulness than a true need or want for this type of life for herself. She mentions at the end of the episode that she had never considered the possibility of a family and that shows. It appears as if she doesn’t quite know what family is or how it works, and looking back at her history, knowing where the show would lead, that does make a lot of sense. Her father was killed at a young age and she left home possibly as early as 14-15. Her wide eyed stares of wonder feel very true to where her character was taken. I can also understand how I as a young punk missed the subtleties of her emotions in this episode and wrote Darius off as a silly love interest. I’ve decided that these more experienced eyes makes watching a lot more fun.
Once Xena meets up with Gabrielle she tries to make the youngster take cover while she deals with the warlords. Gabrielle simply would have none of that and clearly stated she wanted in on the “fun” (her word, not mine). There is nothing innocent about this spitfire and at the moment the pacifist period of season 4 seems incredibly foreign. However it should be pointed out that Xena did not appear to see the independent and capable young woman Gabrielle appears to have been at this early date, but rather saw her as, which she informed Darius, “depending on her”. Perhaps I picked up on Xena’s perceptions of Gabrielle during my first watch?
The chariot racing scene in this was impressive to watch. The speed, the elegance, not to mention the actual dangers that must have been involved for the stunt people. It truly was spectacular to watch.
Subtext
Subtext is what you make of it, but I will point out a few things I made out (there might be others, but these were what interested me). Lets begin with the first boy toy’s (Sphaerus) physical appearance. In a bar full of people Gabrielle, without hesitation, goes for the dark haired, blue eyed warrior with the square shoulders and the brooding expression. Feel free to connect the dots.
The little half smile/smirk on Xena’s face as she meets up with Gabrielle is another thing that can be filled with meaning, if you are so inclined.
And of the more stretching, horribly, horribly overanalyzed type of subtext. At the end of the episode Xena has a discussion with Darius that goes like this;
The meaning is wonderfully ambiguous in itself and with the addition of an episode where Xena and Gabrielle were separated for most of it, well…it’s things like this us subtexters lived on in the beginning.
As the two main characters continue on their journey Gabrielle states that she does miss her family, but not as much when she is with Xena.
Conclusion
All about family.
Xena felt confused and curious throughout the episode. At the same time she was followed by physical weakness and pain. We saw a glimmer of a sense of humour as a severely injured Xena couldn’t help scaring the children for her own amusement (Boo!). All in all (don’t you just love that expression?!) this was a lot weaker and softer Xena than what we saw in the previous episode. But that is a good thing, because it feels as if this Xena actually have something to lose. She is conflicted (instead of a shell) and therefore a lot more interesting to watch. Gabrielle continues to show that she is far from innocent, she deals with unwanted attention by jumping into a guy’s lap and planting a big one on him. To paraphrase the God of War, I think that says a lot about her, don’t you?! In addition she expresses a wish to be apart of the violence.
Despite supporting characters showing depth and relevance to the development of our heroes, for Xena in particular, they are not nearly as interesting to watch as Draco was. The story is okay and a good way of providing Xena with some flaws and a more human side. Not my favourite episode, but I was pleasantly surprised and I really did get a kick out of the chariot scene.
Randomness & Memorable
- I could have sworn Sarita grew up to be Hope in Maternal Instincts, the resemblance is uncanny.
- “It will take more than an arrow to get rid off me” -- Yes, add a beheading and she’s set for departure. Someone should have taught her not to jinx things.
- Gabrielle’s little laugh after she smooched her lover boy. I’m telling you, she’s a vixen!
- First use of ‘best friend’, Gabrielle when referring to Xena.
- We get to know why she ends up wearing the same costume for 6 season “Well, I don’t have anything else.”
- The silent moment of stop as she rips the dress before continuing fighting.
- “You call that a jump?”
“No, it was a frantic leap.”
Granted there were both chariots and mentionings of war in this episode, but the title is a little strange. Misleading. This was an episode about family.
I’ve deliberately stayed away from this episode because according to my memory there was a love interest for Xena in this episode. For some reason I have a hard time accepting or appreciating those in the current timeline (with the exception of Marcus). It makes very little sense and it’s not because I am a lover of the subtext, for some reason I can accept a love interest for Gabrielle. With Xena…it just doesn’t feel right to me. Anyhow, as I was rewatching I kept my eyes open for the signs of a possible romance and love interest between Xena and the fair farmer Darius. The signs of romantic interest never did appear, until in the final scene which could be interpreted as him showing an interest in her staying on with them. No, I had gotten this all wrong, this was not about lover-boy of the week or Xena’s need to settle down. This was a story where Xena and the rest of the cast got to explore the concepts and importance of family.
The episode starts with Gabrielle telling a proto-soulmate type of story and Xena responds by expressing a belief in strength through solitude.
In contrast to the previous episode we now get to see a more human Xena who invests some emotion in the world around her. Physically the injury she receives forces some humanity on her, but also in her interactions with the little family. At the same time Xena does not see herself as part of any family (read the outside world), but she tentatively begins to make connections with it.
The story continues with Darius taking in the injured Xena and cares for her after she saves his son. An interesting parallel to the previous episode where the same actions gave her no sympathies from Herodotus. Her image and reputation is further established in this episode and peers of Mr Farmer pressure him into forcing her to leave. It becomes clear her reputation is just as difficult and painful to fight as the actual “evil”. Not only is she ostracised because of her past, but this episode sets up a scenario where warriors, as well as warlords, are not accepted by people in general. I’m looking forward to the following episodes to see if this attitude was something isolated to this episode, or if it can be felt throughout the season (and possibly series).
While Xena is getting a crash course in family life and deals with her intestines playing peek-a-boo, Gabrielle is left to her own devices and ends up cruising the bars. The fact that she is not an innocent is further re-affirmed when she has no problems dealing with the bartender or any unwanted attention. It is also made clear that she is aware of her appearance and others perception of her, by her making a reference to herself as innocent while talking to the drunken man in the bar. No one who is truly innocent will ever refer to themselves as such. No, this shows a good understanding of the world and how it works. Again I have to wonder where my perceived notion of her as innocent comes from.
After having made her advances on Sphaerus (better known as blue eyed soldier boy) the two end up having their own discussion regarding family. In which some important revelations are made about Gabrielle’s perceptions of a traditional family. They are discussing the duty one has to ones family and she tells the story of how despite her mother’s disappointment in her, she was not willing to “give up her future” through marriage and children. That she sees the possibilities of marriage and children as being incompatible with a future, tells a lot about this young blonde warrior wannabe. Not just about her view on her personal future, but also her belief that it is important to be able to stand up to everyone, family included. But it should be mentioned she is not completely against the idea of a family, she later in the episode tells Xena that she had begun to consider Sphaerus as her possible tree (family, children, marriage, commitement). Perhaps it was just a marriage with Perdicus that would lead to this lack of future?
At the same time Xena gets to taste the quiet life and throughout the episode she looks absolutely mesmerized by family and the concept of a life without violence. However this disbelief seems to be more of curiosity tainted by wistfulness than a true need or want for this type of life for herself. She mentions at the end of the episode that she had never considered the possibility of a family and that shows. It appears as if she doesn’t quite know what family is or how it works, and looking back at her history, knowing where the show would lead, that does make a lot of sense. Her father was killed at a young age and she left home possibly as early as 14-15. Her wide eyed stares of wonder feel very true to where her character was taken. I can also understand how I as a young punk missed the subtleties of her emotions in this episode and wrote Darius off as a silly love interest. I’ve decided that these more experienced eyes makes watching a lot more fun.
Once Xena meets up with Gabrielle she tries to make the youngster take cover while she deals with the warlords. Gabrielle simply would have none of that and clearly stated she wanted in on the “fun” (her word, not mine). There is nothing innocent about this spitfire and at the moment the pacifist period of season 4 seems incredibly foreign. However it should be pointed out that Xena did not appear to see the independent and capable young woman Gabrielle appears to have been at this early date, but rather saw her as, which she informed Darius, “depending on her”. Perhaps I picked up on Xena’s perceptions of Gabrielle during my first watch?
The chariot racing scene in this was impressive to watch. The speed, the elegance, not to mention the actual dangers that must have been involved for the stunt people. It truly was spectacular to watch.
Subtext
Subtext is what you make of it, but I will point out a few things I made out (there might be others, but these were what interested me). Lets begin with the first boy toy’s (Sphaerus) physical appearance. In a bar full of people Gabrielle, without hesitation, goes for the dark haired, blue eyed warrior with the square shoulders and the brooding expression. Feel free to connect the dots.
The little half smile/smirk on Xena’s face as she meets up with Gabrielle is another thing that can be filled with meaning, if you are so inclined.
And of the more stretching, horribly, horribly overanalyzed type of subtext. At the end of the episode Xena has a discussion with Darius that goes like this;
Darius: "I hope you find your happiness."
Xena: "I did. I just have to leave it for a while.”
Xena: "I did. I just have to leave it for a while.”
As the two main characters continue on their journey Gabrielle states that she does miss her family, but not as much when she is with Xena.
Conclusion
All about family.
Xena felt confused and curious throughout the episode. At the same time she was followed by physical weakness and pain. We saw a glimmer of a sense of humour as a severely injured Xena couldn’t help scaring the children for her own amusement (Boo!). All in all (don’t you just love that expression?!) this was a lot weaker and softer Xena than what we saw in the previous episode. But that is a good thing, because it feels as if this Xena actually have something to lose. She is conflicted (instead of a shell) and therefore a lot more interesting to watch. Gabrielle continues to show that she is far from innocent, she deals with unwanted attention by jumping into a guy’s lap and planting a big one on him. To paraphrase the God of War, I think that says a lot about her, don’t you?! In addition she expresses a wish to be apart of the violence.
Despite supporting characters showing depth and relevance to the development of our heroes, for Xena in particular, they are not nearly as interesting to watch as Draco was. The story is okay and a good way of providing Xena with some flaws and a more human side. Not my favourite episode, but I was pleasantly surprised and I really did get a kick out of the chariot scene.
Randomness & Memorable
- I could have sworn Sarita grew up to be Hope in Maternal Instincts, the resemblance is uncanny.
- “It will take more than an arrow to get rid off me” -- Yes, add a beheading and she’s set for departure. Someone should have taught her not to jinx things.
- Gabrielle’s little laugh after she smooched her lover boy. I’m telling you, she’s a vixen!
- First use of ‘best friend’, Gabrielle when referring to Xena.
- We get to know why she ends up wearing the same costume for 6 season “Well, I don’t have anything else.”
- The silent moment of stop as she rips the dress before continuing fighting.
- “You call that a jump?”
“No, it was a frantic leap.”
Next up:
The Witch (BtVS)
The Witch (BtVS)
Thursday 31 July 2008
Welcome to the Hellmouth/The Harvest - 1x01/2 (BtVS)
First aired: 10.03.97
This show starts with some modesty and self-doubt with Darla’s line; “Are you sure this is a good idea?”
Right from this very first scene we are shown what would make BtVS and Whedon especially (see Dr. Horrible for most recent example) famous. He never once lies to the viewers, but he uses our own assumptions in order to surprise and shock us. He gives us the expected (which we don’t expect, because it is expected), but in an unexpected fashion. Buffy herself is a brilliant example of that.
I had almost forgotten how dark this show is from a purely visual point of view. In this 40+40 minutes episode we only have a handful of scenes with actual daylight in them. Most of the show takes place during the dark hours and the main source of light is artificial. In this introductory episode we are also shown some of the sets which will be heavily used throughout both this and later seasons, all of them indoors.
The musical score and sound effects in this episode had me scrunching my nose in dislike. The score felt cheap, dated and intrusive. I had to shake my head at some of the stupid background noise/voices added. Personally I could definitely have survived without the random obnoxious “Kill him!” during Buffy’s final fight with Luke. The music selection when it comes to songs on the other hand is excellent. Just like with Nerf Herder’s opening theme they are a mixture of young attitude and action, and fit the show perfectly.
I was almost a little surprised at the amount of exposition involved. I know Giles became know as the King of Exposition, but I had forgotten that almost each line serves an informative purpose. Few lines exists in themselves, but rather set the table for future events. It almost made me feel a little overwhelmed.
Buffy
Our first meeting with the lead character of Buffy is through her dreams, or in this case nightmares. I find the intimacy of this “first contact” very interesting. There are no secrets between us and the hero of this show.
Buffy exists in a social setting. She has her mother’s support behind her and actively seeks out friendships. It becomes clear from the start that the social safety nets these relations provide are very important to her. Something we see further evidence of in her need to save Jessie whom she sees as a potential friend. In addition we have the scene between her and Angel in the crypt where she asks him “Do you know what it‘s like to have a friend?”, the tone and way she said this indicates the importance of friendships and friends in her life. She identifies herself through her existence in a social group. What then becomes interesting is that twice she seeks out Willow, both times knowing she is not part of the popular kids and therefore not a ticket to easy acceptance. This deliberate drift towards outsidership is fascinating in contrast to the importance she puts on social acceptance. Then again perhaps all she truly wanted was acceptance, something the outsiders would be quicker to give than the otherwise socially prominent group lead by Cordelia?
The character of Buffy is an intriguing mixture of experience and a quest for oblivion. It makes for a very sad picture; the 16 year old desperately wanting to erase her experience of the dark side of life. Despite her need to regain her innocence and leave this part of the world behind her (no matter the positive influence she can have) she is forced to stay. Because she is special and at this point not because she has made herself so. No, the “specialness” was forced upon her by an outside power.
Furthermore she might posses great physical powers, but otherwise this is a powerless young girl (as powerless as most teenage girls). Her life is controlled by others. The only thing she has ultimate control over is her body, and what 16 year old has true control of that!? No, her life is controlled by those in authoritative positions such as her mother, her Watcher (Giles), the school system personified through the patriarch of principal Flutie and the powerful amoeba that is social acceptance at a High School.
All of this makes for a very interesting hero and I can’t wait to see how she develops.
The Rest
Buffy the Vampire Slayer usually is placed in the category of an ensemble show, that means it is built around a display of characters all relevant and important to the plot and development. Despite this, this episode was all about Buffy. Not one of the other characters made me take notice and look forward to what they could have to offer.
Willow came the closest with two moments of importance, both took place during the second part of the episode (The Harvest). First she was able to provide Buffy with help through her computer knowledge. Then later on she stood up to Cordelia who in the first part had tormented her. Potential yes, but no true emotional complexity. Angel had one moment of interest when Buffy asks him about friends, otherwise he was flat. Giles provided exposition and served as a reminder of the patriarchy Buffy is supposed to oppose. Xander…what exactly was Xander’s purpose in this?
What I especially disliked was the lack of emotional response to Jessie’s death. Xander kicked a bin around, but that seemed to be born out of anger and failure rather than upset of having lost a close friend.
The Dialogue
The amount of lines I scribbled down as I watched is impressive. With the exception of the scene in the locker room;
Aura: Well, the chatter in the caf is that she got kicked out, and that's why her mom had to get a new job.
Aphrodisia: Neg!
Aura: Pos! She was starting fights!
Aphrodisia: Neg-ly!
Which according to me was an abysmal attempt at writing contemporary slang. Otherwise this episode provided some brilliant lines. However it should be pointed out that none of the younger generations (Buffy, Cordelia, Willow, Xander and Jesse) voices’ were particularly distinguishable. But this is not necessarily a bad thing, rather it works as a “living” example of how different "language groups" create their own versions of a language.
Conclusion
This was a good introduction to the verse and a very interesting look at the main character. Buffy is a fascinating combination of ultimate power and complete lack thereof, and this episode gives us a complex portrait of a vivid and ambivalent character. Mucho gusto. What I don’t like is the lack of depth from the rest of the characters on the show. This episode didn’t really spark my interest in anything besides Buffy herself, but her I’m greatly interested in.
Randomness & Memorable
-“The fun part of the Black Plague is, what…?”
- “Morbid much.”
- Buffy’s fascination with James Spader.
- Buffy and Angel’s first meeting where she literally knocks him on his butt and would have left him breathless if he had been breathing.
- The Brit-bashing; “They’ve got that royal family and all kinds of problems.”
- Harmony in a pink unicorn t-shirt.
- The scene where the vamps advance on the Bronze with Darla in the lead while the perfect song is playing.
- Darla getting holy water burn courtesy of Willow.
- Final line; “The earth is doomed.”
This show starts with some modesty and self-doubt with Darla’s line; “Are you sure this is a good idea?”
Right from this very first scene we are shown what would make BtVS and Whedon especially (see Dr. Horrible for most recent example) famous. He never once lies to the viewers, but he uses our own assumptions in order to surprise and shock us. He gives us the expected (which we don’t expect, because it is expected), but in an unexpected fashion. Buffy herself is a brilliant example of that.
I had almost forgotten how dark this show is from a purely visual point of view. In this 40+40 minutes episode we only have a handful of scenes with actual daylight in them. Most of the show takes place during the dark hours and the main source of light is artificial. In this introductory episode we are also shown some of the sets which will be heavily used throughout both this and later seasons, all of them indoors.
The musical score and sound effects in this episode had me scrunching my nose in dislike. The score felt cheap, dated and intrusive. I had to shake my head at some of the stupid background noise/voices added. Personally I could definitely have survived without the random obnoxious “Kill him!” during Buffy’s final fight with Luke. The music selection when it comes to songs on the other hand is excellent. Just like with Nerf Herder’s opening theme they are a mixture of young attitude and action, and fit the show perfectly.
I was almost a little surprised at the amount of exposition involved. I know Giles became know as the King of Exposition, but I had forgotten that almost each line serves an informative purpose. Few lines exists in themselves, but rather set the table for future events. It almost made me feel a little overwhelmed.
Buffy
Our first meeting with the lead character of Buffy is through her dreams, or in this case nightmares. I find the intimacy of this “first contact” very interesting. There are no secrets between us and the hero of this show.
Buffy exists in a social setting. She has her mother’s support behind her and actively seeks out friendships. It becomes clear from the start that the social safety nets these relations provide are very important to her. Something we see further evidence of in her need to save Jessie whom she sees as a potential friend. In addition we have the scene between her and Angel in the crypt where she asks him “Do you know what it‘s like to have a friend?”, the tone and way she said this indicates the importance of friendships and friends in her life. She identifies herself through her existence in a social group. What then becomes interesting is that twice she seeks out Willow, both times knowing she is not part of the popular kids and therefore not a ticket to easy acceptance. This deliberate drift towards outsidership is fascinating in contrast to the importance she puts on social acceptance. Then again perhaps all she truly wanted was acceptance, something the outsiders would be quicker to give than the otherwise socially prominent group lead by Cordelia?
The character of Buffy is an intriguing mixture of experience and a quest for oblivion. It makes for a very sad picture; the 16 year old desperately wanting to erase her experience of the dark side of life. Despite her need to regain her innocence and leave this part of the world behind her (no matter the positive influence she can have) she is forced to stay. Because she is special and at this point not because she has made herself so. No, the “specialness” was forced upon her by an outside power.
Furthermore she might posses great physical powers, but otherwise this is a powerless young girl (as powerless as most teenage girls). Her life is controlled by others. The only thing she has ultimate control over is her body, and what 16 year old has true control of that!? No, her life is controlled by those in authoritative positions such as her mother, her Watcher (Giles), the school system personified through the patriarch of principal Flutie and the powerful amoeba that is social acceptance at a High School.
All of this makes for a very interesting hero and I can’t wait to see how she develops.
The Rest
Buffy the Vampire Slayer usually is placed in the category of an ensemble show, that means it is built around a display of characters all relevant and important to the plot and development. Despite this, this episode was all about Buffy. Not one of the other characters made me take notice and look forward to what they could have to offer.
Willow came the closest with two moments of importance, both took place during the second part of the episode (The Harvest). First she was able to provide Buffy with help through her computer knowledge. Then later on she stood up to Cordelia who in the first part had tormented her. Potential yes, but no true emotional complexity. Angel had one moment of interest when Buffy asks him about friends, otherwise he was flat. Giles provided exposition and served as a reminder of the patriarchy Buffy is supposed to oppose. Xander…what exactly was Xander’s purpose in this?
What I especially disliked was the lack of emotional response to Jessie’s death. Xander kicked a bin around, but that seemed to be born out of anger and failure rather than upset of having lost a close friend.
The Dialogue
The amount of lines I scribbled down as I watched is impressive. With the exception of the scene in the locker room;
Aura: Well, the chatter in the caf is that she got kicked out, and that's why her mom had to get a new job.
Aphrodisia: Neg!
Aura: Pos! She was starting fights!
Aphrodisia: Neg-ly!
Which according to me was an abysmal attempt at writing contemporary slang. Otherwise this episode provided some brilliant lines. However it should be pointed out that none of the younger generations (Buffy, Cordelia, Willow, Xander and Jesse) voices’ were particularly distinguishable. But this is not necessarily a bad thing, rather it works as a “living” example of how different "language groups" create their own versions of a language.
Conclusion
This was a good introduction to the verse and a very interesting look at the main character. Buffy is a fascinating combination of ultimate power and complete lack thereof, and this episode gives us a complex portrait of a vivid and ambivalent character. Mucho gusto. What I don’t like is the lack of depth from the rest of the characters on the show. This episode didn’t really spark my interest in anything besides Buffy herself, but her I’m greatly interested in.
Randomness & Memorable
-“The fun part of the Black Plague is, what…?”
- “Morbid much.”
- Buffy’s fascination with James Spader.
- Buffy and Angel’s first meeting where she literally knocks him on his butt and would have left him breathless if he had been breathing.
- The Brit-bashing; “They’ve got that royal family and all kinds of problems.”
- Harmony in a pink unicorn t-shirt.
- The scene where the vamps advance on the Bronze with Darla in the lead while the perfect song is playing.
- Darla getting holy water burn courtesy of Willow.
- Final line; “The earth is doomed.”
Next up;
Chariots of War (XWP)
Chariots of War (XWP)
Wednesday 30 July 2008
Sins of the Past - 1x01 (XWP)
First release: 09-04-95
Now this is a straightforward way of kicking off a show, first line of the show, and by the lead character Xena, is “Hello”. Simple is good.
What jumps me from the first scenes and follows me throughout the episode is the scenery. New Zealand really is ridiculously beautiful something which is take advantage of from the start. I can’t think of another show that uses as many panning nature shots in between scenes, show-casing the varied nature with no actual purpose beyond sharing the beauty.
Second thing to notice is the music, which consists of a delicious mixture of cultures and styles creating an impressive and epic feel. In between the music and nature one could easily mistake this for a straight-faced drama show taking itself very seriously. However, in great contrast to this we have the almost cartoonish violence and fight scenes. The fight scenes in this first episode bear no elements of realism (at all), but are rather amusing romps in unbelievable Hong Kong action mixed with He-Man Masters of the Universe. I appreciate on screen violence and personally, realism is not something I am looking for or need in order to find a fight scene satisfying. But I can definitely understand why more puritan action lovers scorn this show.
Gabrielle
Now lets talk about Gabrielle for a few paragraphs. I remembered her character as the young naïve and virginal peasant girl who was the complete innocence in contrast with Xena’s blemished past and present. I was actually surprised at what I found when I watched this again with analytical eyes. If you fight to look past the adorable smile and the gorgeous flickering eyelashes, what you see is something a lot more complex and darker than the pure and wholesome image she’s been slapped with. Her reasons for leaving home were not simply because of her need to see the world or to get away from a potential and unwanted loveless marriage. Instead she tells her sister “I am going to be a warrior.” I was with this intention she set out from home. Not once during this episode is her spoken intention to become a bard. She certainly has the gift of gab, but it is only used in order to get Xena to take her on as a "warrior apprentice".
On her way to Xena she doesn’t think twice about lying to serve her purposes. We’re not talking about artistic licence here, but pure and simple lies. Both towards those trying to take advantage of her (the blind Cyclops), but also those whom she tries to take advantage of (the old man with the carriage). Furthermore she seems to have no qualms about fighting dirty in order to help Xena (and ultimately herself), by tripping Draco’s guard during the final fight.
Finally I want to go back to the first scene in the clearing, where she is overpowered by one of the ruffians. Xena helps her by bashing the guy with the staff, but it is Gabrielle on her own who breaks free by taking out the guy with a well placed knee. This in no ways an helpless and morally lily white virgin. No, this is a young woman with a lot of drive and a purpose. She only needs for someone to help her take that first step to self-fulfilment. She is us, she is every woman out there. Seeing this again I have to wonder who is the true symbol of female empowerment in this show. Is it Xena, or is it perhaps Gabrielle?
Draco
My memory of the character of Draco has been severely clouded by the way in which he was used later in the series. This Draco however…wow! He is an emotionally complex character with a lot of skill and even more attitude. Personally I think this was a bloody brilliant way of starting the show by having a “villain” such as him. Not only does it show good quality writing and interesting stories, but also early on presents, what I loved about the earlier seasons, the moral ambiguity of all on screen characters. I wish we would have seen more of this competent warlord and skilled actor.
Xena
Xena herself feels very tired in this episode. You can easily imagine the weight of the world on her shoulders. This Xena is one of the most tragic characters I’ve ever seen. She wants nothing more than to “go home”, to feel and be at peace. At the same time it is so painfully clear that this person will never forgive herself and therefore never allow herself to find her own peace. I sigh deeply just thinking about it. Other than that, the Xena character isn’t very interesting in this episode. Until that final fight scene it really feels as if she’s not even there. What we see up until that point is merely a broken shell forced to go through the motions.
What is interesting to note is in the stoning scene at the Inn, where the villagers show up and demand vengance. What made me take note is the person who threw the first stone, a young girl cannot possibly remember Xena’s past sins against the village and its people. It is a powerful image to have a young girl throw the first stone and the guilt on Xena, a character who would become an impressive symbol both for female power, but also as the champion of a minority group such as the Queer community. We really are our own worst enemies aren’t we?!
It should also be pointed out that right from the start the two main characters voices are completely different and distinct from both each other and any other guesting characters.
Subtext
And finally a note on that sweet thing called subtext. Episode one and we already have comedic subtext in the form of an innuendo which comes out of the mouth of Gabrielle; “She’d never let a man close enough to do her -- at least not that kinda doing her. A young thing like me on the other hand.” This line takes on more depth in the light of what I mentioned earlier about her character, and I have to admit I have previously seriously underestimated her in this season. Another lovely thing from a slightly subtexty point of view is their first meeting. With a first meeting such as this, the meeting of glanzes across a crowded clearing, there really should have been no surprise when they eventually upgraded the looks to something beyond friendship, and that they also further down the series adapted the concept of soulmates to fit these two. Because that really was a classic first meeting of epic proportions.
Conclusion
I absolutely adore this episode. Not only is it a good preview of what the show would look like, but it is an enthralling story about three very different individuals and the influence and impact they have on each others lives at one particular moment in time. In my opinion Draco and Gabrielle stands out in this episode and are actually more interesting to watch than the tragic Xena. Still I now can’t wait to see Xena’s character develop into the complex anti-hero is became. I’m also looking forward to watching this season without the purity binoculars when it comes to Gabrielle.
Randomness & Memorable
- Argo the boy.
- “I’ve blocked off the flow of blood to your brain!”
- “You picked the wrong woman to be rough with.”
- Despite future indication of Lyceus as one of the most important persons in her life, she did not go see him until after her second talk with her mother, where she with brutal honesty was reminded of her past sins towards her family.
- The Chakram was the final thing Xena threw onto the pile to be buried at the beginning of the episode.
- Final word of the episode; "Friend".
Now this is a straightforward way of kicking off a show, first line of the show, and by the lead character Xena, is “Hello”. Simple is good.
What jumps me from the first scenes and follows me throughout the episode is the scenery. New Zealand really is ridiculously beautiful something which is take advantage of from the start. I can’t think of another show that uses as many panning nature shots in between scenes, show-casing the varied nature with no actual purpose beyond sharing the beauty.
Second thing to notice is the music, which consists of a delicious mixture of cultures and styles creating an impressive and epic feel. In between the music and nature one could easily mistake this for a straight-faced drama show taking itself very seriously. However, in great contrast to this we have the almost cartoonish violence and fight scenes. The fight scenes in this first episode bear no elements of realism (at all), but are rather amusing romps in unbelievable Hong Kong action mixed with He-Man Masters of the Universe. I appreciate on screen violence and personally, realism is not something I am looking for or need in order to find a fight scene satisfying. But I can definitely understand why more puritan action lovers scorn this show.
Gabrielle
Now lets talk about Gabrielle for a few paragraphs. I remembered her character as the young naïve and virginal peasant girl who was the complete innocence in contrast with Xena’s blemished past and present. I was actually surprised at what I found when I watched this again with analytical eyes. If you fight to look past the adorable smile and the gorgeous flickering eyelashes, what you see is something a lot more complex and darker than the pure and wholesome image she’s been slapped with. Her reasons for leaving home were not simply because of her need to see the world or to get away from a potential and unwanted loveless marriage. Instead she tells her sister “I am going to be a warrior.” I was with this intention she set out from home. Not once during this episode is her spoken intention to become a bard. She certainly has the gift of gab, but it is only used in order to get Xena to take her on as a "warrior apprentice".
On her way to Xena she doesn’t think twice about lying to serve her purposes. We’re not talking about artistic licence here, but pure and simple lies. Both towards those trying to take advantage of her (the blind Cyclops), but also those whom she tries to take advantage of (the old man with the carriage). Furthermore she seems to have no qualms about fighting dirty in order to help Xena (and ultimately herself), by tripping Draco’s guard during the final fight.
Finally I want to go back to the first scene in the clearing, where she is overpowered by one of the ruffians. Xena helps her by bashing the guy with the staff, but it is Gabrielle on her own who breaks free by taking out the guy with a well placed knee. This in no ways an helpless and morally lily white virgin. No, this is a young woman with a lot of drive and a purpose. She only needs for someone to help her take that first step to self-fulfilment. She is us, she is every woman out there. Seeing this again I have to wonder who is the true symbol of female empowerment in this show. Is it Xena, or is it perhaps Gabrielle?
Draco
My memory of the character of Draco has been severely clouded by the way in which he was used later in the series. This Draco however…wow! He is an emotionally complex character with a lot of skill and even more attitude. Personally I think this was a bloody brilliant way of starting the show by having a “villain” such as him. Not only does it show good quality writing and interesting stories, but also early on presents, what I loved about the earlier seasons, the moral ambiguity of all on screen characters. I wish we would have seen more of this competent warlord and skilled actor.
Xena
Xena herself feels very tired in this episode. You can easily imagine the weight of the world on her shoulders. This Xena is one of the most tragic characters I’ve ever seen. She wants nothing more than to “go home”, to feel and be at peace. At the same time it is so painfully clear that this person will never forgive herself and therefore never allow herself to find her own peace. I sigh deeply just thinking about it. Other than that, the Xena character isn’t very interesting in this episode. Until that final fight scene it really feels as if she’s not even there. What we see up until that point is merely a broken shell forced to go through the motions.
What is interesting to note is in the stoning scene at the Inn, where the villagers show up and demand vengance. What made me take note is the person who threw the first stone, a young girl cannot possibly remember Xena’s past sins against the village and its people. It is a powerful image to have a young girl throw the first stone and the guilt on Xena, a character who would become an impressive symbol both for female power, but also as the champion of a minority group such as the Queer community. We really are our own worst enemies aren’t we?!
It should also be pointed out that right from the start the two main characters voices are completely different and distinct from both each other and any other guesting characters.
Subtext
And finally a note on that sweet thing called subtext. Episode one and we already have comedic subtext in the form of an innuendo which comes out of the mouth of Gabrielle; “She’d never let a man close enough to do her -- at least not that kinda doing her. A young thing like me on the other hand.” This line takes on more depth in the light of what I mentioned earlier about her character, and I have to admit I have previously seriously underestimated her in this season. Another lovely thing from a slightly subtexty point of view is their first meeting. With a first meeting such as this, the meeting of glanzes across a crowded clearing, there really should have been no surprise when they eventually upgraded the looks to something beyond friendship, and that they also further down the series adapted the concept of soulmates to fit these two. Because that really was a classic first meeting of epic proportions.
Conclusion
I absolutely adore this episode. Not only is it a good preview of what the show would look like, but it is an enthralling story about three very different individuals and the influence and impact they have on each others lives at one particular moment in time. In my opinion Draco and Gabrielle stands out in this episode and are actually more interesting to watch than the tragic Xena. Still I now can’t wait to see Xena’s character develop into the complex anti-hero is became. I’m also looking forward to watching this season without the purity binoculars when it comes to Gabrielle.
Randomness & Memorable
- Argo the boy.
- “I’ve blocked off the flow of blood to your brain!”
- “You picked the wrong woman to be rough with.”
- Despite future indication of Lyceus as one of the most important persons in her life, she did not go see him until after her second talk with her mother, where she with brutal honesty was reminded of her past sins towards her family.
- The Chakram was the final thing Xena threw onto the pile to be buried at the beginning of the episode.
- Final word of the episode; "Friend".
Next up;
Welcome to the Hellmouth/The Harvest (BtVS)
Welcome to the Hellmouth/The Harvest (BtVS)
Pre-Re-Watching
My initial thought before the re-watching is that I have more respect for XWP. I think this may partly be because of the underdog status of XWP, and I will almost always root for the underdog. The fact that the XWP fandom also provides me with more intellectual debate as well as an incredibly high standard of fanwork e.g. fic, vids & graphics, also works to it’s advantage. Plus it should be mentioned that the Xena fandom is the one I’ve been most active in lately (as in the past year or so). It’s been a very long time since I actually watched any BtVS seriously.
It should be mentioned that right now I feel a certain amount of contempt for Joss Whedon. I cannot deny the man has streaks of brilliance in him, but there are certain aspects of him and his work that I’ve lately found do not mix with my perception of the world. Specifically the way in which (granted this is not all his fault) BtVS have been attributed to him alone and the following individual worship of Whedon himself. Though Whedon might be the man behind the genius that is BtVS you seldom feel the celebration and acknowledgment of the team standing with and behind him through the seven seasons. BtVS has in many ways become one big celebration of the individuals, Whedon and Sarah Michelle Gellar in particular. Whereas XWP on the other hand does have it’s stars, but has always felt like a team effort. Though some of them might shine a little brighter than the others, inside the fandom you never single one of them out and attribute the success to them individually. This feeling of team effort and praise is something that fits more comfortably with my ideology.
Furthermore at this time I also appreciate many of the XWP characters a lot more than any of the ones found in BtVS. My perceived difference between the two shows pre-re-watching is that Whedon (in general, but also in this specific case) provides interesting spins on old and well used stereotypes, whereas Xenaverse provides a larger display of truly original characters based on archetypes (yes there is a difference between stereo and archetypes).
At this point I also feel that the dialogue on XWP at times was more than a little clunky and rather cliché filled at times. "Buffyspeak" on the other hand, though heavily influenced by for example Heathers, really is original and so brilliantly funny it cannot not be worshipped. BtVS dialogue and Buffyspeak often find its ways into the most mundane of my sentences. As the grammar rapist I am, I love and adore the bending, twisting and twirling of expressions, sentences and words, the gang behind BtVS provided us with. Though there are some awesome lines on XWP (It’s all about me, and what I know!) they are not nearly as dynamic and vivid as the ones on BtVS.
To summarise, I at the moment prefer Xena over Buffy for a whole slay of reasons. The main one being the underrated nature of the show and the fact that the brilliance of the show stems from the effort we as a viewer and fan put into analysing it. My current disdain for Buffy mainly centres around the individualistic and somewhat pretentious elements of the show and its creators.
BtVS was mainstream original. XWP was independently original. One show created a female hero based on society’s perceived notions of femininity. The other show created a complex anti-hero that exists outside of contemporary gender roles. Both shows have become known as promoters of female empowerment. Then the question becomes, does either one of these shows live up to that reputation? Which show provided us with more original entertainment and messages? How much influence did they have on each other? What messages, if any, did they present? Where do these two stories fit into present day Western society?
And finally, how will my perceptions and preconceived notions have changed once I’ve watched my way through both shows?
It should be mentioned that right now I feel a certain amount of contempt for Joss Whedon. I cannot deny the man has streaks of brilliance in him, but there are certain aspects of him and his work that I’ve lately found do not mix with my perception of the world. Specifically the way in which (granted this is not all his fault) BtVS have been attributed to him alone and the following individual worship of Whedon himself. Though Whedon might be the man behind the genius that is BtVS you seldom feel the celebration and acknowledgment of the team standing with and behind him through the seven seasons. BtVS has in many ways become one big celebration of the individuals, Whedon and Sarah Michelle Gellar in particular. Whereas XWP on the other hand does have it’s stars, but has always felt like a team effort. Though some of them might shine a little brighter than the others, inside the fandom you never single one of them out and attribute the success to them individually. This feeling of team effort and praise is something that fits more comfortably with my ideology.
Furthermore at this time I also appreciate many of the XWP characters a lot more than any of the ones found in BtVS. My perceived difference between the two shows pre-re-watching is that Whedon (in general, but also in this specific case) provides interesting spins on old and well used stereotypes, whereas Xenaverse provides a larger display of truly original characters based on archetypes (yes there is a difference between stereo and archetypes).
At this point I also feel that the dialogue on XWP at times was more than a little clunky and rather cliché filled at times. "Buffyspeak" on the other hand, though heavily influenced by for example Heathers, really is original and so brilliantly funny it cannot not be worshipped. BtVS dialogue and Buffyspeak often find its ways into the most mundane of my sentences. As the grammar rapist I am, I love and adore the bending, twisting and twirling of expressions, sentences and words, the gang behind BtVS provided us with. Though there are some awesome lines on XWP (It’s all about me, and what I know!) they are not nearly as dynamic and vivid as the ones on BtVS.
To summarise, I at the moment prefer Xena over Buffy for a whole slay of reasons. The main one being the underrated nature of the show and the fact that the brilliance of the show stems from the effort we as a viewer and fan put into analysing it. My current disdain for Buffy mainly centres around the individualistic and somewhat pretentious elements of the show and its creators.
BtVS was mainstream original. XWP was independently original. One show created a female hero based on society’s perceived notions of femininity. The other show created a complex anti-hero that exists outside of contemporary gender roles. Both shows have become known as promoters of female empowerment. Then the question becomes, does either one of these shows live up to that reputation? Which show provided us with more original entertainment and messages? How much influence did they have on each other? What messages, if any, did they present? Where do these two stories fit into present day Western society?
And finally, how will my perceptions and preconceived notions have changed once I’ve watched my way through both shows?
Xena: Warrior Princess - Introduction
The following introduction lifted off of Wikipedia;
Xena: Warrior Princess is an American television series that aired from September 15, 1995 until June 18, 2001. Produced by Pacific Renaissance Pictures Ltd (owned by Robert Tapert and Sam Raimi) in association with/distributed by Universal Studios, Xena was created as a spin-off from Hercules: The Legendary Journeys. It stars Lucy Lawless as Xena and Renee O'Connor as her companion Gabrielle. The show chronicles Xena's quest to seek redemption for her past sins as a ruthless warlord by using her formidable fighting skills to help people. Gabrielle becom
es Xena's greatest ally; her initial naïveté helps to balance Xena and assists her in recognizing and pursuing the "greater good."In addition to Xena and Gabrielle, the show also features a wide assortment of recurring characters, including adversaries Ares (Kevin Tod Smith), Alti (Claire Stansfield) and Callisto (Hudson Leick), and trusted friends Ephiny (Danielle Cormack), Virgil (William Gregory Lee), Autolycus (Bruce Campbell), Eli (Tim Omundson) and Joxer (Ted Raimi).
Influence
Xena: Warrior Princess has been credited by many, including Buffy the Vampire Slayer creator Joss Whedon, with blazing the trail for a new generation of female action heroes such as Buffy, Max of Dark Angel, Sydney Bristow of Alias, and the Bride in Quentin Tarantino's Kill Bill.
A subject of much interest and debate among viewers is the question of whether Xena and Gabrielle are lovers. The issue is left deliberately ambiguous by the show's writers. Jokes, innuendo, and other subtle evidence of a romantic relationship between Xena and Gabrielle is referred to as "lesbian subtext" or simply "subtext" by fans.
Buffy the Vampire Slayer - Introduction
The following synopsis lifted off of Wikipedia;
Buffy the Vampire Slayer is an Emmy Award-winning and Golden Globe-nominated American cult television series that aired from March 10, 1997 until May 20, 2003. The series was created in 1997 by writer-director Joss Whedon under his production tag, Mutant Enemy Productions with later co-executive producers being Jane Espenson, David Fury, and Marti Noxon. The series narrative follows Buffy Anne Summers (played by Sarah Michelle Gellar), the latest in a line of young women chosen by fate to battle against vampires, demons, and the forces of darkness as the Slayer. Like previous Slayers, Buffy is aided by a Watcher, who guides and trains her. Unlike her predecessors, Buffy surrounds herself with a circle of loyal friends who become known as the "Scooby Gang."The series usually reached between four and six million viewers on original airings
Writer Joss Whedon s
ays that "Rhonda the Immortal Waitress was really the first incarnation of [the Buffy concept], just the idea of some woman who seems to be completely insignificant who turns out to be extraordinary." This early, unproduced idea evolved into Buffy, which Whedon developed to invert the Hollywood formula of "the little blonde girl who goes into a dark alley and gets killed in every horror movie." Whedon wanted "to subvert that idea and create someone who was a hero.” He explained: "The very first mission statement of the show was the joy of female power: having it, using it, sharing it."Main characters
Buffy Anne Summers (played by Sarah Michelle Gellar) is "the Slayer", one in a long line of young women chosen by fate to battle evil forces. This mystic calling endows her with dramatically increased physical strength, as well as endurance, agility, accelerated healing, intuition, and a limited degree of clairvoyance, usually in the form of prophetic dreams.
Buffy receives guidance from her Watcher, Rupert Giles (played by Anthony Stewart Head). Giles, rarely referred to by his first name, is a member of the Watchers' Council, whose job is to train and assist the Slayers. Giles researches the supernatural creatures that Buffy must face, offering insights into their origins and advice on how to kill them.
Buffy is also helped by friends she meets at Sunnydale High: Willow Rosenberg (Alyson Hannigan) and Xander Harris (Nicholas Brendon). Willow is originally a bookish wallflower; she provides a contrast to Buffy's outgoing personality, but shares the social isolation Buffy suffers after becoming a Slayer. As the series progresses, Willow becomes a more asserti
ve character, a powerful witch, and comes out as a lesbian. In contrast, Xander, with no supernatural skills, provides comic relief and a grounded perspective. It is Xander who often provides the heart to the series, and in Season Six becomes the hero in place of Buffy who defeats the "Big Bad". Buffy and Willow are the only characters who appear in all 144 episodes; Xander is missing in only one.Influence
Buffy's success has led to hundreds of tie-in products, including novels, comics, and video games. The series has received attention in fandom (including fan films), parody, and academia, and has influenced the direction of other television series.
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