Angel - 1x07 (BtVS)

First aired: April 14, 1997

On the surface we have an episode on the infatuation between Buffy and Angel, while dealing with Angel’s more than complicated past and current situation. The story in itself does not do much for me, but the slices of backstory and vampire mythology we are handed in-between the kissing and emotional turmoil of a forbidden love, are very nice.

The episode starts off with Buffy moping around with Willow at the Bronze, expressing a wish for finding a guy, and more specifically to find someone to share a stable relationship with. Automatically their discussion ends up on her crush, Angel.

While being chased down by the Three, an especially vicious gang of vampires, Buffy also will have to deal with her first kiss with Angel, and subsequently finding out her loverboy is actually a vampire. To top it all off Joyce ends up at the hospital after having been bitten by Darla in an attempt at discrediting and seducing Angel.

Darla
For this episode she plays a very similar role to that of Ares in the previous XWP one. She is the temptress from the past who works to lure Angel back to his family and to fully embrace his dark side, the demon within.

The first time around I despised the character. I had problems with her throughout her appearance in Whedonverse. And even though I still have some problems with her as the temptress, the whore, I somewhere along the way managed to look past the message she sends and grew to love the actual character. However the message is very troublesome, especially in this episode and the contrast she offers to Buffy. By having Buffy and Darla as two opposites for Angel to be torn between, the good and the bad, the virgin and the whore, we are presented with a very old portrayal of the perceived dual nature of woman. Whedon et al do make their own take on it and thereby questioning, yet its foundation prevents it from being truly original or even thought-provoking.

La Familia
What fascinates me about this episode, and then later on Angel the Series, is the incredible complexity of the vampires. They might be ruthless and (literally) bloody-thirsty beasts, but they are also based on human emotions. They in many ways resemble the Gods of XWP, a physically superior being with rudimentary and super-charged emotions. They might not fully comprehend or feel empathy, but passion runs through them as blood runs through us mortals.

At the same time they cannot connect with the human world in which they are forced to live, so they have to and do create their own families. The closest bond is between the Sire (the vampire who transform a human) and their victim and later on apprentice. As we later will see in the series, they are everything from parent/god/lover/sibling/brother in arms/confessor/saviour/judge/executioner to the person they infect with their demon. They are everything to each other, and there are real emotions involved in this bond. As we see when Angel kills Darla, there are true feelings on his face as he does so, emotions I don‘t want to simply accredit to his soul. Same with the Master, he sincerely mourns the loss of Darla, his favourite, his child. He also feels regret and grief over not having Angelus at his side.

Vampires do feel, and what’s even more refreshing, but at the same time sets them further apart from both humanity and other demons, they are not afraid to show those feelings. I’m a little bit in love with Whedon’s vampire mythology and the stark contrast they offer to what we have decided is accepted behaviour for human beings. They are pushing all kinds of boundaries, social/physical/cultural/religious. Vampires do not simply exist to go poof as Buffy stakes them. Rather they are a carnival mirror of humanity, twisting and turning and re-shaping the familiar, making it more, making it less, making it different while never restructuring or truly changing.

Conclusion
In the same way I have been twisted and turned and reshaped since I first watched this show, and though I’ve never truly understood the greatness of Buffy and Angel’s love story I find that I have even less interest in it today. Their love affair is worth looking into, it probably even holds entertainment, but I simply cannot find the entertainment value in Buffy and Willow’s raving about the effects of love. Same goes for Xander’s petty jealousy, which is horribly human and gives the character a very relatable weakness, still I find it simply…annoying.

It is interesting that I can have an emotional distance from XWP, while completely succumbing to my own weaknesses and emotions when watching BtVS. Surely I would have thought it would be the other way around, especially seeing how much time I’ve spent away from BtVS while still being a very active part of the XWP fandom.

I know I might sound very critical, and I am, but at the same time I do love it. I am not as enamoured by the same elements (read characters) as I was when I watched it for the first time, but my passion for it has changed. I find new parts that flow more smoothly along the stream of my current ideology and I am more impressed by the consistency and intelligence of the storyline. And even though I know the story of both Angel(us) and Darla, this episode still makes me burn to find out, and despite the general themes not being fully compatible with my view of the world, that is a sign of pure and solid storytelling.

This was an episode that in itself is rather weak, but brims with potential, just like the current versions of Buffy and Angel.

Randomness & Memorable
- The look on Angel’s face as he kills Darla.
- Joyce and Giles interactions at the hospital.

Next Up:
The Titans (XWP)

The Reckoning - 1x06 (XWP)

First release: 10/16/95

This is more like it.

The introduction of Ares, the God of War and the establishing of his connection and interest/fascination/fondness of Xena, the Warrior Princess.

I remembered Ares as being a lot more over-sexualised, but this was actually a lot more fun. I am not a fan of how this show often used sexual lust as a metaphor or road to death and destruction, so I was very pleased to see that the sexual undertones to his seduction were in fact rather subtle (or, well as subtle as this show can do). Seriously this is the Ares that sends shivers down my spine and puts a quirky little smile of well-being on my lips. He quite simply is powerful, and he knows how to speak to Xena (and his followers). Unlike so many of the other gods he isn’t (at this point) a bully, he is power. Everything about him breathes strength and a versatile nature. His lines stand out as some of the best delivered ones and most philosophical of the entire show. Yeah, it’s been too long since I watched the show and had the bitter taste of Ares from Path of Vengeance still in my mouth. This is many times more pleasurable and hundred times more thought-provoking to watch.

Enough with the Ares raving and lets move on to what the episode is actually about. A hooded figure kills three random peasants and after having fought the anonymous figure who vanishes into thin air, Xena is accused of the killings. She is captured and after more than one touch-and-go with mob-mentality she gets to experience village justice.

It is an interesting episode, not simply to give us a taste of Xena’s darkness (aka Ares), but also for the progress of Gabrielle as a character and a person. While Xena is locked up and tied down, Gabrielle who’s faith in the warrior never once falters, use her oral skills to advocate the reformed warlord’s innocence. It both gives her an opportunity to become the protector, but also to stand on her own two feet. Building upon her actions in Sins of the Past she gets to use her skills in order to persuade the grief-stricken villagers of Xena’s good intentions . A speech that is surprisingly well-structured and concise for a teenage girl. It might not have released the same chills as Ares dialogue, but it was enough for me to raise my eyebrows and nod approvingly.

Furthermore, and an especially interesting scene to point out in relation to the previous BtVS one. Here Gabrielle receives a slap in the face from Xena, and she does forgive her, but she doesn’t let the warrior forget about it. In addition she makes sure to return the “favour” by a well-placed punch to Xena’s chest. Showing that she won’t just accept behaviour like that without standing up for herself. She might be the sidekick, but not even at this early point will she be trampled. She demands and make sure she receives equality in their relationship. We all make mistakes and forgiveness is beautiful, but to simply ignore our failures is not healthy. We need to remember to learn. Very different from how Buffy handled Xander’s attemptive rape.

Knowing Me, Knowing You
What makes Ares so dangerous, but also impotent is his closeness to Xena. The two of them know each other as well as they know themselves. He knows exactly what buttons to push in order to make Xena falter and be tempted to give her darkness free reins and team up with him. Xena on the other hand knows exactly how to play Ares in order to both win back the lost lives and her freedom. It truly is glorious, Xena is breaking free of her former mentor and his visions for the world. At the same time she is breaking free by using what he taught her, and as Ares himself mentions when she says she’s now fighting for a better world, “You were always fighting for a better world”. She might be on the road to reformation, but her identity and skills are still and forever linked to Ares tutelage. And that is why I love to see them as one. Ares is a metaphor for Xena’s warrior side. Xena on the other hand is a physical vessel for the God of War to work his ideology through. Brilliant storytelling.

Finally I just have to mention Ares line to Xena, “Now summon forth that super-mortal strength of yours”. Unlike with Buffy I really do enjoy having Xena as not quite human. In the context of the show it makes us question what we have come to expect of humanity. Her dubious mortality (as well as morality) is the ultimate norm-breaker and catalyst for us to re-think our expectations. Plus I’m a big fan of the subtle references of Ares as her father.

Justice vs. Law
This episode also introduces a discussion on how justice works in relation to the law, and how the two are not always directly linked. Furthermore it highlights the problems with judicial systems both in themselves, but also when infected by human emotion. It is a good start to yet another theme that will be incredibly important throughout the show; how to deal with justice and who has the right to claim it.

Gabrielle/Ares
I wasn’t going to splash around in the G/A puddle, but it is very fun to see that Ares does not actually appear physically to Xena until Gabrielle has firmly established herself at her side, and worked her way into the position of best friend. But yeah, plenty of G/A subtext even in this one if you care to look for it (and I will, but in another post and another place).

Subtext
The scene that pops, for me personally, was the making-up scene after Xena in her Ares induced haze of aggression hits Gabrielle. There is something about the language and way in which that scene is played that speaks volumes. It’s not simply two friends making nice again, there’s something beyond that. A need and a tension above and beyond.

Xena in the prison cell and Gabrielle peaking in from the outside.
Xena: "Someone gave me a better offer." *pause* "I need you to leave me alone for a while."
Gabrielle looking crushed: "Okay."
Xena quickly replying: "I didn’t mean that like it sounded." *with a softer voice* "I'm glad you came back."

It shows how important Gabrielle’s feelings are to Xena. The Warrior Princess doesn’t understand why Gabrielle stays, but the urgency in her voice and the fear in her eyes proves that she desperately needs her to.

Then there is also the scene where Xena, the former warlord, commands the bathing Gabrielle, dressed in pristinely white underwear, to get up on her horse. This is true subtext, playing on a very subtle level the attitude and feel of the scene in the context of an episode dealing with Xena’s rough past, adds a certain sexual dynamic to it. The Warlord and the Virgin-- if nothing else works as a major fanfic prompt.

Conclusion
Ares was a lot more enjoyable than I had remembered him, and his dialogue is bloody brilliant. Then add an impeccable delivery by Kevin Smith and it’s not difficult to understand the attraction. I also love how Ares is a tangible manifestation of what is inside of Xena. He is her, just as much as she is him. Moreover he wants her on his side, but at the same time he takes great pride in her independence and success in foiling his plans. I do so love their relationship when it’s not sexualised.

A very good episode, probably one of the most interesting and important ones of the first season. A must watch and very solid introduction of the God of War.

Randomness & Memorable
- Both Xena and Gabrielle refer to each other as best friends.
- Gabrielle playing CSI:Greece and discovering two sets of footprints at the “crime scene“.
- Xena’s weird yip-yip battle yell at the beginning.
- Ares hand gesture while fighting Xena at the beginning. Weird, but very cool.
- “I used to wonder what you looked like” Xena to Ares.
- Being dragged behind a horse - way of execution and reoccurring theme of the show.
- "My dear Xena, you were always fighting for a better world. You were going to conquer it-- and then-- you were going to rule it-- the perfect way to bring order-- out of chaos."

Next Up:
Angel (BtVS)

The Pack - 1x06 (BtVS)

First aired: April 07, 1997

This is yet another episode looking into the psyche of Xander and giving him some more complexity and development. This time by standing up to bullies and in turn becoming one himself. Very interesting series of events and because of recent occurrences I can’t help draw parallels to the police force. Not sure that was the message they were going for, but it is interesting to note how often those who stand up for the underdog and proclaim to bring justice themselves become nothing but culturally condoned bullies.

During a fieldtrip to the local Zoo, Xander and four bullies are infected by the predator spirit of a bunch of especially cruel hyenas. The infection grows and the five of them form a pack and end up wreaking both emotional and material havoc back at Sunnydale High. At the beginning of the episode Xander is part of the outcasts, but at the same time he stands up to the bullies. As they are then hyena-ised the rest of the pack looks to Xander as their leader. The entire episode is basically another grand metaphor of teenage life and the workings of peer pressure and the collective, as well as touching upon the workings of a clique.

As I remembered things I did enjoy Xander, he had his moments of weakness and selfishness, but as a whole I enjoyed the character. This re-watching is making me dislike him more. It’s probably because of my preconceived notions of BtVS being about the female empowerment, which does clash somewhat with the character complexity given to Xander while Willow is kept a victim. And Willow truly is treated like a victim in this episode. She is passive and completely at the mercy of those around her, both emotionally (her feelings towards Xander) and physically (being saved by Xander at the end). It is not pleasant to watch, but at the same time it is a very frank portrayal of many teenage girls.

To add to my Xander dislike is his rape attempt on Buffy. Just like in the previous episode a very serious and all too common occurrence is made into light-hearted fun. What is especially distressing is that Buffy allows him to forget about the event at the end. When Xander in many ways end up taking the cowards’ way out by claiming amnesia, she allows him the peace of mind by not reminding him. I can’t decide whether that is a sign of her admirable compassion or if it’s a horrible message about how women should/do act towards their abusers. I guess it’s a bit of both.

However I do have a favourite part of the episode and it is most definitely the one where the Pack (sans their leader) eats the principal. They literally destroy authority by gobbling it up. It’s a representation of both the fear and adoration the writers have for the younger generations (and people in general). Authority stands no chance against the collective, but at the same time the collective can be vicious and downright brutal. It’s also a brilliant metaphor for the clash of the generations and how one absorbs the previous.

I shouldn’t be too hard on the episode and its messages, because Buffy does stand up to both bullies and predators. In fact the Pack does not even want to challenge her, in true predator logic they understand that they are not a threat to her (which could be argued puts the rape-attempt into a new light). Neither is Buffy particularly affected by the bullies attempts to get to her at the beginning (pre-hyena jinx), she might not enjoy, but does appear to take it all in stride. In many ways highlighting that they’re not playing on the same level, something that I can’t decide if it’s a good or a bad thing. It detracts from Buffy’s humanity, but at the same time perhaps Buffy does work best as an ideal to which the rest of us can strive.

Conclusion
It’s a strange mixture of behavioural utopia and stark and gloomy reality, all rolled up into one show, one episode even. Not a personal favourite, but very interesting to watch and to take apart.

Randomness & Memorable
- Jennifer Sky (Amarice) as a Pack-member - XWP cross-geeking
- Sunnydale High Razorbacks -really?!
- Buffy hitting Xander with a desk.
- “Boys can be cruel” - Giles the daddy

Next Up:
The Reckoning (XWP)

The Path Not Taken - 1x05 (XWP)

First aired:10.02.95

Yet another aspect of the character of Xena. Unfortunately it happens to be the development of my least favourite side of hers, manipulation.

Xena has fully accepted and embraced the role of Gabrielle’s protector, for good and for bad. Xena clears the road for Gabrielle who never even has to consider either consequences or have to face the uglier aspects of humanity. Though the Warrior Princess probably has nothing but good intentions, her behaviour in many ways is limiting Gabrielle’s development and understanding of the world. Something that will lead to ending up in the stocks and has to face possible execution. Gabrielle’s eagerness mixed with her experience of everything ending up for the better (read Xena saving the day) is already giving her troubles.

Once Xena has accepted the “mission” of retrieving Prince Unibrow’s loved one, the discussion between Xena and Gabrielle turn serious. Gabrielle clearly expresses a fear of Xena falling back into her old ways while being surrounded by people from her past. Xena more or less shrugs at her companion’s concern while at the same time managing not to be condescending towards Gabrielle’s fears. I didn’t actually think Gabrielle was this aware of how carefully Xena is walking the line. It also shows that despite the apparent lack of fully being able to “see” each other, they do have a very healthy communication going. That Gabrielle feels secure enough to voice her concern is a clear indicator of a very comfortable and perhaps even surprisingly (so early on) open relationship.

As Xena in this episode is playing the role of wicked warlord, the news of her possible “goodness” has spread amongst the darker side of their community. The rumours of her assistance to King Gregor and saving the innocent child is now following closely in her footsteps. Still she manages to “pass” and successfully fool the arms dealer Mysentius. This is where her manipulation comes into play. With a steely calm she works the dealer around her little finger, using words and confidence as successfully as she wields a sword. Not only does her manipulation work, but she adds another level to it by playing on her sensuality and Mysentius’ lust.

Marcus, the Friend
Then there’s Marcus. I like Marcus, I really do. Or to be more specific, I liked what he brought out in Xena, the teary-eyed regret. Just by watching Xena’s eyes during their interactions you could tell this man meant something to her. I also adore her final salute to him during the funeral pyre where she doesn’t refer to him as an ally, lover or a fellow soldier, but a friend. That is probably the most heartfelt friend I have ever heard and I definitely believe her. This man had once been her friend and judging by her passion, friends are something she doesn’t take lightly. They matter.

Subtext
Because I enjoy seeing what isn’t there on the surface, and I went into this thinking/hoping/knowing that there will always be at least one little piece of subtext in each and every episode. However this is of the extremely over analytical and metaphorical kind. The following discussion takes place between Marcus and Xena,

Marcus: “Yeah, the old Xena. You know, there is something different about you now. I mean, before, you-- were so determined, like you-- always had something to prove. But now, it’s--”
X: “But now--”
Marcus: “It’s hard to say. It’s like, now, you have the answer. But I’ve never even found the question.”

Followed by a very heated liplock and quick cut to Gabrielle looking adorable in the stocks. One possible interpretation of this, is that Xena has indeed has begun to understand the answer, which obviously is love. Love is the problem, the equation and the solution. Slowly she’s learning this through experience. The quick cut to Gabrielle works to emphasise how she is learning this. I’m not saying that there is anything between our two heroes other than a fresh friendship, but perhaps the ideas are already there. Perhaps they’re teaching each other what love is, and how it works.

Conclusion
The range of emotions Xena is allowed to display in this episode (in relation to Marcus) warms my heart. However that one side of her I dislike, more so than her violence, is just as clearly displayed. In this episode we see her expand on her manipulative skills, and her sensuality, sexuality as a weapon. I really do not like this side of her. Manipulation is one of the few things I truly despise in this world, I don’t have any good arguments I just do. Furthermore, to me sexuality is not a weapon, an issue, a problem, destructive or immoral. To me sexuality simply is, it’s something that links most of us and gives us the opportunity to come up with highly inventive and original ways of expressing and releasing it. Even though it has its dark sides, it really is kinda beautiful. That’s why I’m not a fan of it used in the manner Xena often does, to trick and to deceive.

Despite adoring Xena’s reaction to Marcus (though Marcus himself could have used some character work and not simply been sacrificed to the Horror-movie stereotype), I really don’t like this added "depth" of manipulation. Therefore I’m not thrilled about this episode.

Randomness & Memorable
- “I don’t care much for popularity.”
- Gabrielle in the stocks.
- Xena in the robe.
- One of Xena’s plans actually failing -- Marcus finding the girl.
- The Funeral Hymn.

Next Up:
The Pack (BtVS)

Never Kill A Boy On the First Date - 1x05 (BtVS)

First aired: March 31, 1997

Ah, an episode tentatively dealing with my favourite relationship of the show, Buffy and Giles. Sweet.

Beyond Slayer & Watcher
On the surface this is an episode about Buffy once again aiming for normality, this time in the form of a proper date. However beneath all of this it is a study in the slow blurring of boundaries between Buffy and Giles. The episode starts off with Giles critiquing Buffy’s slaying technique clearly stressing their Watcher/Slayer relationship. As the episode progresses that notion is tampered with and blurred. Officially Giles is playing the role of librarian, unofficially he is her Watcher. Both roles are slowly pushed to the side by something else, something more. In the pilot Giles already stepped over the boundary for physical proximity by invading Buffy’s personal sphere twice. In this episode he steps beyond yet another boundary by coming to her house.

At the end of the episode Giles uses a story from his own childhood referring to his relationship with his own father in order to comfort, but also show Buffy that he can relate to her. It is especially interesting that he uses the story containing his father, thereby ever so tentatively establishing a similar father/daughter relation between them. Rather than to take the teacher’s/Watcher’s role of guided improvement, her offers her unconditional support and comfort.

Buffy the Teenage Girl
So, Buffy and the boy. The boy of this week is a morbid brooder (apparently she has a type) by the name of Owen. Her reaction to him are equal parts adorable, predictable and painful. She becomes the bubbly blonde who fakes interests and rambles pointlessly in Owen’s proximity. There’s not much to say about Owen himself, or her reaction to him, other than they’re both rather typical. What else is typical, but more interesting is Cordelia’s strange reaction. For some reason after having spotted Buffy’s interest and approach to the silent brooder, Cordelia throws herself on the poor unsuspecting boy. Why, is a very good question, but feels strangely accurate to “female” behaviour, as a type of alpha-female squabbling and “outdoing”.

While an age old prophecy speaking of the Masters ascension is being fulfilled, Buffy tries to juggle “normal” teenage life with slaying. Thereby ending up taking her boy for a nice tour of the Funeral Home (and the autopsy room looks strangely similar to the science lab from The Witch). As the morbid little fella Owen is, he gets a total kick out of it until the dead turn undead. A lot of running and chasing results in the Armageddon spouting vamp catching and smashing Owen into the wall causing Buffy to believe he’s killed him. This sets Buffy off and she goes on to pummel the vamp. This is actually quite interesting, there seems to be a possible enjoyment in the violence for her. And Giles critique from the teaser of this episode, where he scolds her for lingering to long before going in for the kill, only works to emphasis this. It is also interesting to point out that she appears to prefer to fight without weapons, the weapons only show up at the end when it‘s time to dust. If this is a matter of inexperience or simply a personal preference I shall eager wait and see.

The episode ends on a very mixed note. Buffy having to sacrifice the normality she seeks, but meanwhile believing she succeeded “professionally”. Unfortunately she failed without realising it, which only helps to make her so much more human. You do not always beat the evil, and more importantly, you don’t always know you’ve failed. This also highlights the incredible consistency of storytelling this show has. From the first to the last episode with stops during the season we are told one story. It is one story-arch containing both success and failure. It is very good.

Conclusion
Once again the show’s themes as well as overall feel is firmly established. A wild ride between the mundane ponderings of the pubertal teenager mixed up with demons and all other types of devil spawn. Human timeless emotions mixed up with ancient prophecies regarding ultimate destruction and the demise of the human race.

Buffy herself gets to enjoy smashing demon ass while being allowed to throw pubertal temper tantrums and fawn over the boy-crush of the week. Meanwhile her relationship with Giles takes on a slightly more emotional side.

It was actually a quite enjoyable episode. Even though the characters of Xander and Willow felt somewhat overlooked, and Angel’s random appearance with a superfluous warning and a look of jealousy of Buffy’s date, felt both conspicuous and unnecessary.

Randomness & Memorable
- “At this point you’re abusing sarcasm.”
- Xander’s Tweety Bird watch.
- Sunnydale Airport Shuttle.
- Cordelia’s reaction to seeing Angel for the first time, “Hello, Salty Goodness”.
- Discussing the cafeteria’s “mystery green” and slaying all within the span of two sentences.
- Buffy & Giles looking through body boxes at the morgue, “Eww, parts”.
- The vamp with euphemism-Tourettes, “Pork and Beans”.
- The incredibly dated fashion.

Next Up:
The Path Not Taken (XWP)

Cradle of Hope - 1x04 (XWP)

First release: 09.25.95

What this show lacks in consistency it more than enough makes up for in prophecy.

Cradle of Hope is an interesting mixture of Greek Mythology with touches of the Bible. The episode starts with a heartbroken King receiving a prophecy of a newborn child one day taking over his throne. This causes a young newborn boy to be sent down the river in a basket in an attempt to save him from the witch-hunt of newborns.

This episode perpetuates the snarky Gabrielle and introduces a more carefree Xena. There is some cheerful and playfulness in this Xena. It is as if her world has taken a step away from the darkness and constant struggle. Perhaps the revelations of the previous episode has freed her up somewhat. She’s given herself the chance to be human. With it we also see an increase in her confidence, which also turns her into more of the aggressor than in the earlier episodes. Previous to this she has reacted to her surroundings, this time by taking in the child and Pandora she actively seeks to help others. She seems to have taken her own (future) advice of “act, don’t react”.

Watching Xena fight at the tavern is glorious. This is the first time you can feel her joy. She’s quick, aggressive and inventive. Anything can be a weapon in her hands, candlestick, port, (later on in the episode, sex) you name it and she’ll find a way to use it for violence. Another good example that this character needs violence and darkness in her life to thrive. Previously when she’s been fighting that other side of herself she’s felt dull and depressed. Now she’s very much alive and kicking.

As mentioned this episode emphasises that anything can be a weapon in Xena‘s hands, and one of the more lethal ones she has access to is sexuality and her sensuality. Through seducing the dubious Commander she gets access to Pandora’s box (yes, I realise how wrong that sounds). This marks the beginning of the theme of explicit lust/sexuality as a metaphor as well as path towards destruction. At times I’m surprised at the lack of uproar from the heteronormative community, not because of the homoerotic undertones, but because of the ways in which the show treats heterosexuality. From memory, each and every explicit heterosexual encounter always ends in death, or at least a sizeable amount of destruction. That includes those times when it’s not used as a straightforward weapon. I’m eagerly waiting to see if my memory serves me right. If so, it brings an entirely new level of moral subtext to subtext. One I’m not entirely sure I agree with. But if you enjoy division and social/cultural value-systems it might be for you.

Word of Xena’s new path is still not out. Once again the King and his deceitful commander sees Xena as a ruthless monster who’s army they fear to go up against. This episode actually paints a picture of Xena as not necessarily a hero as much as a problem-solver. With the same brutal and beautiful simplicity as she fights, she finds original solutions to problems. At this point it’s not about saving entire populations from vicious warlords and ultimate destruction, it’s about helping people, making the best out of hopeless and sad situations.

The YAXI vs. The Prophecy
Watching X:WP is in many ways very similar to reading Ancient Sources. They are inconsistent, tell the same stories in a wide range of ways, are often very prophetic, but always present similar themes. That’s what you get on X:WP as well.

As the duo discovers the boy in the basket Gabrielle ponders aloud, “Imagine sending a baby down the river”. A line that with the knowledge of events to come tears at my heart and makes me wish I could protect this fairly innocent young girl from the pain to come. Same goes for the painfully hypocritical, “What sort of man would order the death of a defenceless child?” that Xena incredulously pondered in relation to the King’s hunt for the boy. To further slam the prophecy home Gabrielle’s curiosity causes her to stumble into and knocking Pandora’s box over, thereby “releasing Hope into the world“. I try not to look ahead, but enjoy the episode and the moment, but this episode makes future events too clear not to see the parallels. Personally I actually have to say I prefer this prophetic and ambiguous stuff to complete consistency.

Subtext
As they wake up Gabrielle asks Xena how she’s slept, who cheerfully replies, “Like a rock”. In reply to Xena posing the same question Gabrielle grumbles “On a rock”. The implication that Gabrielle slept on Xena is difficult to ignore.

Furthermore as Pandora is discussing the most important thing to mankind Xena’s eyes briefly linger on Gabrielle at the voice-over of “most important”. It’s not just actors and writers who’s in on the subtext, the editors did their share as well.

Then there is Gabrielle’s final smile at Xena as the Warrior Princess has saved the day. Sure it’s could just be a smile, but it could also be a promise, a possibility. A future.

Conclusion
It’s good to see that Xena didn’t simply step out of the darkness into the role of champion and protector of the Greater Good. Nope, she started as a problem-solver trying to do good while enjoying herself without enjoying herself too much.

Gabrielle is still a punk and a teenager and that is just as glorious to see. She’s grumpy, self-centred, got an attitude and have trouble with authority. Her enthusiastic curiosity is at the moment as entertaining as it eventually will be painful.

To imagine that these two should go on to wreck havoc in heaven and hell, inspire prophets and cause the fall of Empires, great leaders and Gods feels as wrong as realising your sister who you keep imagining to be 12 is in fact 20. At the moment they’re nothing but a homeless rag-tag duo with a tentative bond and uncertain purpose. I can’t help loving every moment of it.

Randomness & Memorable
- The birth of the proper one-liners, first “didn’t your mother ever tell you...”
- “Why is he crying? Are you holding him wrong or something?”
- “We just want some milk and some port.”
- The baby-juggling.
- Weird slow-mo as Pandora turned the handle on the box.
- “Break it down. Break it down.”
- Xena chasing away the guard dogs with a hand gesture.
- Fate for men without a destiny.

Next Up;
Never Kill A Boy On the First Date (BtVS)

Teacher’s Pet - 1x04 (BtVS)

First aired: March 25, 1997

This was definitely not what I had been expecting. An episode about male sexuality and ego was not something that fit into my preconceived notion of what a show that has become known for its female empowerment would deal with. But it did.

This was an episode that portrayed women from a male perspective. I highly doubt it was a coincident that in those scene were Xander was present Buffy and Willow always communicate silently (inaudible for the audience) and kept close physical contact. Nope, this episode dealt with Xander, his masculinity, sexuality and the ways it set him apart from the female population. There was never any disrespect towards women and one could even say the way in which the episode portrayed the female as powerful and aggressive sexually is part of the empowerment previously mentioned. Still the focus was on the male.

The main theme was obviously that of the somewhat ridiculous nature of some expressions of male sexuality, but there is also a much darker interpretation. Because this is also a story about a Predator and a child. It is surprising not more discomfort is felt when a young boy is tricked into his much older teacher’s home, drugged and then about to be taken advantage of. In one way you almost have to wonder if such a painful and serious matter should be transformed into television entertainment.

With this episode we are also shown that despite his goofy nature, Xander is not the comic relief, Cordelia is. She merely exists as a tool to be used for plot advancement (in the previous episode to be spell cast, in this to find the body) while her foreign perspective and lack of empathy are used as laughter inducers. Then again it’s the first season so she is allowed to be a cardboard cutout, it’s just strange thinking this is (supposed to be) the same character that got me teary eyed during her goodbye appearance on Angel (the Series).

One of the scenes that stand out to me is the one between Dr Gregory and Buffy. Both showcasing that Buffy might not be the typical smarty, but does have a great amount of potential. Also the fastest way to Buffy’s heart is through placing faith in her (no pun intended). She seeks recognition, but she is also an incredibly loyal character.

Conclusion
Not one of the stronger episodes, but does display a wider emotional perspective than I had originally thought the series presented. Even though Xander is not one of my favourite characters, it's good to see that the show does allow his perspective as well.

Randomness & Memorable
- Buffy vamped-out being attacked by vamps.
- Alexander LaVelle Harris
- Symbol of Kali Ma on Giles’ desk.
- Buffy killing a vamp with a white picket fence. Talk about symbolism.
- “Destructo-girl. That’s me.” Said by Buffy with a grain of painful honesty.
- “There are too many guys in your life.”

Next up:
Cradle of Hope (XWP)

Dreamworker - 1x03 (XWP)

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.”

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.”

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;

Darius: "I hope you find your happiness."
Xena: "I did. I just have to leave it for a while.”

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.”

Next up:
The Witch (BtVS)