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)
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