In General, I'm Noticing A Lot Of Faith-in-Buffy On This Rewatch That I Missed On Previous Watches. 'Prophecy

In general, I'm noticing a lot of Faith-in-Buffy on this rewatch that I missed on previous watches. 'Prophecy Girl' has a lot of it (after she dies, but also her smile while she's fighting vamps at the start of the episode), and obviously Buffy in 'When She Was Bad' is full of Faith.

And now, in 'What's My Line pt. 2', it's astonishing how much Buffy is Faith to Kendra. The way she provokes her, tries to bring out the passion in her - it's so Faith, so much a mirror of Buffy and Faith's relationship, with Buffy in the Faith roll. Just, you know, less homoerotic.

... I mean, it's still pretty homoerotic. Just... less so.

GORCH! GORCH! GORCH! GORCH!

The Harrowhark: The narrator had brain surgery done to make themself an unreliable narrator, and that's the least weird thing that's going on.

I feel like many people have a fundamental misconception of what unreliable narrator means. It's simply a narrative vehicle not a character flaw, a sign that the character is a bad person. There are also many different types of unreliable narrators in fiction. Being an unreliable narrator doesn't necessarily mean that the character is 'wrong', it definitely doesn't mean that they're wrong about everything even if some aspects in their story are inaccurate, and only some unreliable narrators actively and consciously lie. Stories that have unreliable narrators also tend to deal with perception and memory and they often don't even have one objective truth, just different versions. It reflects real life where we know human memory is highly unreliable and vague and people can interpret same events very differently

There’s like 12 different kinds of tension in this image.

Halloween:

"This Whole Episode Smacks Of Gender" I holler as I smash Janus' statue on the ground and turn Buffy back into an actual character

Xander's plotline seems to recognise the problem with his masculine insecurities, but resolves itself by satisfying those insecurities rather than overcoming them. Luckily, this is a problem that will never appear again in the series.

Willow dying and becoming a ghost really feels like it should be forshadowing for something later in the series. Like, if she died at some point, we'd look back at this episode and be like 'Ah, the seeds were being planted even back then.' But nope - it forshadows nothing, she's just a sexy ghost for the episode.

I have to interpret Giles' face when he hears the costume shop is Ethan's as less "Oh, fuck" and more "Oh, for fuck's sake." Like, he legitimately can't believe he's still dealing with this asshole.

Also, he really didn't need to beat Ethan up to find out how to end the curse. I mean, "smash the statue"? You always have to smash the statue! Or the staff, or maybe the orb. He really could have worked it out on his own - I think he just wanted to give Ethan a bit of a kicking.

I'm a little mixed on the Ripper retcon. It comes out of nowhere, 'this man of tweed was actually a cool badass with a mysterious past' feels like a cheap way to add darkness to the character, and Giles' more interesting moments of darkness always come more from his position as a Watcher than in conflict with it. However, the show never leans too hard on the whole 'Ripper' thing, so rather than overtaking his character it just adds texture to it, something that is very needed as we move out of Season 1 and characters are growing depth beyond their initial archetypes. So I do think it's a good thing, but I'm glad it isn't taken further and ultimately remains a fairly minor part of the character.

Buffy. you're really just going to let Spike just run away? Not even gonna try to chase after him? I know he's a recurring character who can't die here, but you need to at least pretend that you don't know that. Still, I do think it's interesting that Spike already seems to be defined by his willingness to just hit the bricks the moment things aren't going his way. As much as he's supposed to be the current Big Bad, he's already being presented as a bit pathetic - he can be dangerous, sure, but in a pragmatic, human way, rather that a terrifying intimidating force that Big Bads tend to represent.

Finally, Angel seduces Buffy by calling other women 'simpering morons', and insisting that she's Not Like them. It's not great from a feminist perspecive, but looking at it from a character perspective this really feels like Liam coming out - and that makes sense! He's spent most of his ensouled unlife avoiding people, not really growing as a person or learning how to be better. He's only started being a person again since he came to Sunnydale, and he's not good at it - so he falls back on old habits, as Liam or even as Angelus, especially when he's trying not to seem like the awkward, barely functional weirdo he actually is inside. I'm think I'm enjoying his character a lot more on this rewatch now I see through his cool badass loner exterior to the dear little rat boy underneath.

(It is weird how invested Willow is in their relationship though - it's like Xander is with Riley. And I'm pretty sure she's barely spent any time with him. Buffy's friends are just really weird about her love life.)

In Reptile Boy, once again the Angel relationship takes a step forward in an episode about older sexual predators preying on high-schoolers; like Teacher's Pet, the appeal of an older partner is recognized and questioned, and the dangers they represent are confronted. And Angel continues to stress the age difference between him and Buffy as a problem. I really didn't pay much attention to it when I was younger, but the show is way more aware of the issues here than I realised.

Also, yeah, the "When I kiss you I want to die," line is a complete non-sequiter - hell, they've barely even kissed. It might make some sense in Season 3, but it really doesn't fit where they are at this point in the series, and it really sounds way more like a reason to end a relationship than to begin one.

There is however a much more natural connection to her death drive when she expresses a desire to be swept up in an out-of-control romance - it's the "Seize the day, because tomorrow you might be dead" thing again. She wants to embrace passion now without regard for any possible consequences, because on some level she's deeply aware that she might not live to see those consequences; and if she denies herself now, she might not live to see real passion. I'd argue that both her vampire romances are defined by her inability to imagine a future for herself, simply taking whatever love or pleasure she can get right now - because the present is all that she can really believe in.