I Know What You Did Last Summer (1997)

 "A toast. To us, to our last summer of immature, adolescent decadence.

I hadn't seen this film since uni, until now, and that's twenty years and change ago. Having seen it today, though... it's quite good. And much maligned, I think, by people unfairly expecting it to be something that it's not. Because, well... this is a script by Kevin Williamson and, while there's certainly wit in the script, it's a straight-up slasher and certainly no Scream.

But we need to appreciate how this came about- after Scream was a massive hit, an older script from Williamson, adapting a novel, was finally acted upon and we have this film to show for it. And, well, it works. There's lots of suspense and scares, which matters. There isn't a huge amount of gore, but why is that a problem? Horror films should be suspenseful, above all, and a focus on the gore of the violence itself will always detract from that. The film's restraint and, yes, the relatively limited number of killings, is no bad thing.

Then there are the four main central members of the cast. Sarah Michelle Gellar stands out, but all four of them are excellent. We're kept very much engaged throughout in terms of both suspense and character.

Perhaps the resolution isn't as good as it could be, as we don't learn about Egan's dead girlfriend until a fair way in the film, about her father until later, but it works. I'm a little confused as to why the killer should murder extra victims who didn't try to kill him last summer, admittedly, but we can handwave that. I tend to suspect this film is unfairly dismissed for not being a postmodern riff on the genre, something it isn't trying to be. Overall, this is a decent if workmanlike slasher movie.

Scream 2 (1997)

 "How do you know that my dim-witted inexperience isn't merely a subtle form of manipulation, used to lower people's expectations, thereby enhancing my ability to effectively manoeuvre within any given situation?"

SPOILERS, in case it needs saying when discussing a slasher that is also a sort of whodunit.

I suppose this film isn't quite as good as its predecessor. But when a sequel is this good, who cares? And, naturally, the film is sufficiently self-aware as to tackle this very subject in the film class discussion scene. Sequels to slashers abound: indeed, one might say that they infest. So it's a joy to see all the knowing references to the specific tropes of slasher sequels.

The plot may be less original than the, er, original, but the narrative is dripping with witty commentary on how the plot is going to unfold. We have a much-maligned red herring in Derek, and a reveal that is a nod to Mrs Vorhees in Friday the 13th.

Yet we also have a cast that shines, and genuine chemistry between Gail and Dewey. The set pieces- the one with Sarah Michelle Gellar as Cici especially- are magnificently done, as one might expect from Wes Craven.

Most of all, though, we have a witty and highly literate script that, at one point, riffs heavily on Aeschylus' Agamemnon. We also get a reminder of how deeply unsettling and weird those American sorority and fraternity things are. Can't they just, like, lower their drinking age to something less insanely puritanical and have their students just drink in bars on campus as happens in every other country?

As sequels go, this may not be an Aliens, or a Godfather: Part II. But it's bloody good, and makes Scream a proper franchise.

Buffy the Vampire Slayer: Unaired Pilot

 "Hey, you forgot your... stake..."

Yep. Many years after blogging the entire Buffyverse I've finally managed to get access to the unaired original pilot. Where did I find it, you ask?

Oh, look, a squirrel.

Anyway, this is short, sweet and rather cheap-looking, but nevertheless full of the Joss Whedon wit and brilliance (regardless of his very serious flaws as a human being that have leaked in recent months) that we've come to know. It is, essentially, a very truncated version of Welcome to the Hellmouth, complete with the nice bit of misdirection in the opening scene.

The main differences involve the music (the opening titles are "Salvation" by Rancid, which is well cool) and the casting of Willow. It's encouraging that Riff Regan is no stick insect and is a rare example of a woman with a real body shape on television, but acting-wise, although solid, she's no Alyson Hannigan. It's understandable that they recast the part.

Otherwise, though, it's surprising how fully-formed this all feels, from the concept to the characters to the little details like "Dingoes Ate My Baby". A wondefrful little artifact.

Masters of the Universe: Revelations- Comes with Everything You See Here

 "We have the power!"

And so it ends, and brilliantly, the perfect deconstruction of Masters of the Universe yet with plenty of heart, plenty of nicely existentialist themes and plenty of character. Kevin Smith has done good.

We get Ram Man. We get Teela rejecting the need to stay tethered to the castle as Sorceress, preferring to share the power with all Eternia. And even He-Man, whose return is a massive and greatle earned event followed by much joyful kicking of arse, notes to Skeletor that "It's not about us" because too much hoarding of agency by "heroes" is not a good thing. It's a pity it doesn't extend to getting rid of Randor because kings are not a good thing either but, you know.

We get Orko back, for a little while, this time being awesome. We get Lyn being a well-rounded and empathetic baddie again, but best of all we get Teela basically saving the universe by putting the case for existentialism instead of nihilism. God is dead, perhaps, but one can see a universe without purpose as bleakness or as freedom. Let's choose freedom, and live the life we want.

And then we get the sequel-hunting end, with thre Motherboard taking Skeletor, and the symbol of Hordak. This is amazing. I hope we get more.

Master of the Universe: Revelations- Hope, for a Destination

 I witnessed the death of God at the beginning of time!"

This is basically, in its concluding episodes, a study in Evil Lyn as nihilist, seeing no purpose and thus no point in the existence of the universe, and so wanting to destroy it. Alas, Eternia has no Jean-Paul Sartre to put her right with existentialism. Yes, perhaps God is dead (as alluded to in Lyn's dream) and the universe has no plan for us, but does that not set us free to live for ourselves, decide our own purpose and meaning, and do good because it's the right thing and not from a selfish desire for heavenly reward? Perhaps Lyn did the right thing in destroying heaven, but the actual universe matters precisely because it has and needs no meaning.

And yet Lyn remains a sympathetic character. Her nuhilism comes, as is nailed home in her hard-hitting monologue to Skeletor, from a lifetime of psychological and physucal abuse, gaslighting, and coercive control. She speaks with the justified rage of an abused woman who has found freedom from her abusers control- including the parts of the control based inside her own mind. I suspect the conclusion will see some sort of healing catharsis for her. I hope so.

Meanwhile we also see Teela come to terms with her power, which she wields better than she thinks, and a conversation with her late mother about how being the Sorceress means abandoning all human attachments- including to one's child, which Teela's mum seems to get away with here a little too likely. I suspect Teela will make a better choice, in the end, than her mother.

But it's all looking very epic, excited as we are by the brief appearance of Blade from the movie and the Adam/Skeletor double act. This is truly excellent telly.

Masters of the Universe: Revelations- The Gutter Rat

 "Nobody around here fears you, Evil Lyn. We all pity you."

This series gets better and better, really making the most of the opportunity to use this setting without a reset button. So we have Adam's parents both overjoyed to see him alive- but they've grown apart in his absence, and Adam feels guit over that, as he does with how his secret hurt Teela. The other thread of the episode is, of course, the edgy subject of Skeletor's domestic abuse of Evil Lyn, and her depressingly typical downplaying of it, until the worm turns after some hard-hitting words from Duncan.

There's some joy in that Andra finds belonging in Eternos, yet we also hear of Lyn's tragic upbringing, and how appalled she is at the cold, impersonal emptiness of the universe and Skeletor's lack of ambition. In the end it's almost easy how she usurps the power of Skeletor, who has always been her inferior. And she does have ambitions... first with a very literal deconscruction of the concept of heaven. Wow.

Then, just when it looks as though there can be no suprrises left to spring, bloody Skeletor turns up wanting to help our friends...

Masters of the Universe: Revelations- Reason and Blood

 "Isn't this usually the bit where you start cackling?"

And so we have another fascinating episode which expands the mythos while also developing characters. Adam has called forth the power without the sword and, well, turned into the Hulk. But the original, pre-cartoon conception of He-Man was as a barbarian, appropriately with the exact same axe that barbarian Adam uses.

There's a poerfully emotive climax as the Hulk is turned back to Bruce Ban... er, Prince Adam by the loving words of a father who admits what a fool he's been to be so disappointed over all these years. And yet there's something else, too. It's impressed on us, again and again, that Adam used the power only to help others, and relinquised it when finished, while Skeletor hoards the power greedily. And both Skeletor and Evil Lyn are interested in the wheres and wherefores of relinquishing the power as we already see rifts growing between Skeletor and his new Sorceress.

Teela, too, has growing magical powers, inherited from her mother, while her father Duncan continues to be the gruff hero even in such adversity as this. For a twenty-odd minute episode there's a lot going on. I continue to be impressed.

Masters of the Universe: Revelations- Cleaved in Twain

 "I'd sure like to fist him!"

Yeah, there was only going to be one possibility for this episode's quote.

This is, of course, an outstanding episode, and not only because Kevin Smith totally leaned in to our childish jokes about Fisto there. It seemed almost impossible to top the cliffhanger at the end of last episode before this agonising break, but the episode pretty much managed it.

The extended scenes of the now-godlike Skeletor gloating over his enemies are eletrifying, and a triumph for Mark Hamill. The Sorceress- after a moving flashback showing her having to leave her baby daughter with Duncan- gets a heroic death. But all seems bleak as our heroes escape, with Skeletor now seeming both all-powerful and genuinely terrifying, proceeding to turn the entire population of King Randor's city into an Army of the Dead.

Cruelly, this includes (ahem) Fisto and Clamp-Champ, who get heroic deaths... only for their souls to be unjustly damned by Skeletor. Ouch. That's bleak.

And yet, after an episode of increasing bleakness, we end on a note of hope, and a brilliant conceptual leap- Adam calls upon the Power of Grayskull without the sword. And, er, seems to turn into some kind of Incredible Hulk. Which is sort of appropriate, because in 1982 or so, when I was five, the series of He-Man and the Masters of the Universe ended on Children's ITV ad was replaced with the then-new cartoon of The Incredible Hulk.

I'm already addicted. This is awesome.

Masters of the Universe: Revelations- The Forge at the Forest of Forever

 "We saved the world... didn't we."

Oh my. It's weird that this is (for now) only five episodes long, but this is a proper season finale and no mistake.

So much happens. The quest narrative moves to Preternia, a kind of good place Eternians go when they die. But this is more of a Valhalla than a Heaven, full of hunts and machismo and old heroes like He-Ro and wise old King Grayskull. But Adam stands out- of all the legendary heroes, only he chooses his weaker form. 

There are good character scenes between Teela and Adam, but we have no clue until the end how dramatic things are going to be. Roboto's death is a very big, very emotional scene. Adam's decision to return to Earth to help his friend, knowing he will sacrifice all chance of returning to afterlife, is moving. 

But it seems as though all is well. Adam speaks the words we know so well, and magic returns to Eternia.. and then it happens: Skeletor, unsuspectedly hiding in Lyn's staff, returns, and fatally stabs Adam mid-transformation. All is lost, and it's a bloody good cliffhanger.

More please. How long do we have to wait?

Masters of the Universe: Revelations- Land of the Dead

 "Oh, bollocks..."

This episode is, perhaps, a little more formulaic than its predecessors in that it has our prtagonists on a quest in Hell- more of a Hades really. Here they are tested by Scare Glow, played by the great Tony Todd and, I've just discovered, one of the last classic toys released, at the same time as the movie characters. And it's all, really, about Teela facing her fear, namely that Adam never really trusted her.

There's some good stuff here, not least Orko's background and the revelation that his self-esteem issues stem from his upbringing. He has an increasingly nice bond with Evil Lyn, perhaps the wisest of all the characters. It's good to see Trollia. And the ending is, of course, splendidly shocking. But this felt more like a space-filling middle episode than most.

Still, that's only a relative criticism in an impressive series, and the characterisation continues to impress.

Masters of the Universe: Revelations- The Most Dangerous Man in Eternia

"I don't know why I thought the lady named Evil-Lyn would be nice..."

Another rushed evening, so blogging this.

I've never read any Joseph Campbell, and probably never will: I tend to take a dim view of overly reductive classification of mythical narratives into quests, hero's journey or any of that. Taken too far it shrinks the world of story to be smaller than it should be. This episode, however, is blatantly part of an overall quest narrative and also features a reconciliation, of sorts, between father and daughter.

Kevin Smith, of course, is far too clever not to be meta about this. Theres rather a lot going on, and not just the witty dialogue ("He-Man had the sense of humour of a teenager who didn't get out much"). There's Man-at-Arms being the typical old ex-hero who refuses to get back in the saddle, nicely subverted by Roboto. There's the splendid Evil-Lyn's gloriously cynical advice to Andra and Teela as she regrets wasting her life with Skeletor and, more broadly, a realigning of allegiances across the board. The conveniently easy definitions of good and evil are gone.

This is good stuff- well-written and acted. I'm enjoying the He-Man vs Skeletor flashbacks at the start of each episode, too.

Masters of the Universe: Revelations- The Poisoned Chalice

 "Cry havoc and let slip these cogs of war!"

I was going to blog The Boys tonight, as I like to alternate. Alas, I'm pushed for time, so the shorter alternative it is.

This is another brilliant episode, shattering the staus quo of an old early '80s filmastion cartoon by removing the reset button and introducing an arc, an ever-changing status quo and a milieu in which any character can die- as Tri-Klops (Henry Rollins!) says, we are no longer in an era of Skeletor's repeated absurd and moribund plans. We're all fortysomethings now, after all.

At firt, it seems as though we have a story of the week to introduce a new staus quo as Teela and her new friend, some time having passed, work as mercenaries. We get a whiff of Stinkor, played by Jay of "and Silent Bob" fame.

We also get a fascinating elaboration of the backstory. Magic is dying, as in Visionaries. Tri-Klops is leading a cult of cyborg technology, complete with body horror transformations. Eternia was the first planet, and both it will rot without magic. A newly cynical Teela, and Andra, must quest for the two halves of the sword of power, in Heaven and Hell. With Evil Lyn. 

The plot thickens, deepens and becomes more interesting. This is such a fresh take. I love it.

Masters of the Universe: Revelations- The Power of Grayskull

 "You can't tend a garden without pulling a few weeds..."

Obviously I was never going to blog the original '80s cartoon. Xennial that I am, and as important Masters of the Universe was to my primary school days as well as those of ever other little boy born in 1977 or thereabouts, I prefer to leave such never-ending cartoons with their big red reset buttons out of the blog. There wouldn't be anything of substance to write about, and I'm no druggie.

This, however, is quite another prospect. For some reason, after blogging more that 750 films, I've never got round to  doing any by Kevin Smith, but in my twenties I was a massive fan of Jay and Silent Bob. His involvement makes this a must-blog.

And it doesn't disappoint. We begin by leaning into the nostalgia, with the introductory art even deliberately homaging the art style of those little comic books  you used to get with the toys. It shows us all our favourite characters being themselves, wallowing in nostalgia, although having a bit of metatextual fun with the catchphrases.

And then, magnificently, it punctures everything as surely as Adam punctures Orko's semi-metaphorical bubble.We learn the secrets of Castle Grayskull- and the whole edifice is a massive exercise in misdirection, to distract Skeletor from what lies beneath- the lair of the Elders, and the Orb that is the source of Eternia's magic and, apprarently, creation itself. At last, as reflected in the dialogue, Skeletor's endless failures are over. At last, as Skeletor sardonically remarks, He-Man finally uses his famous sword to seemingly kill his nemesis. The narrative rules are ended, and that big red reset button is destroyed, never to be pressed again.

The first to die is obscure (and smelly!) goodie Moss Man, but He-Man and Skeletor soon die and, in a dramatic- and perhaps too sudden- final scene, it all collapses as the King and Queen learn simulaneusly that their son was He-Man and that he is dead. Randor's, er, rancour, his banishing of Duncan and Teela's own outburst are perhaps a little too much to accept, even with this stellar cast, bt it all feels so fresh, and Masters of the Universe is at last unpredictable. Hooray.

If one must wallow in nistalgia, one must at least do something new and interesting with it, and upset all the right people. So far Kevn smith certainly seems to be doing that.

Buffy the Vampire Slayer: Chosen

“Oh, you know me. Not much on the damselling."

So, this is it, after seven extraordinary and eventful years... and, with this being American network television, we still get the usual 42 minutes. Still, Joss himself is back to write and direct, so we know this will be good. and it bloody well is.

144 episodes ago we began our voyeuristic adventures of the Chosen One, a valley girl, a character always quick with a quip, but fundamentally (as we were often reminded) alone. She experienced lots of fun, lots of angst, lots of excitement, lots of peril and was always a walking feminist statement, a girl who didn’t need a man to rescue her.

The way we end here is the perfect distillation of all that and the perfect feminist statement. Buffy wins by socking it to the patriarchy, by questioning why on Earth there needs to be just the one Slayer just because a bunch of old people with penises said so, and using Willow’s gloriously feminine magic to smash that particular glass ceiling and make damn sure that every Pitentisl becomes a Slayer, now.

Oh, and if that weren’t enough, Buffy starts the episode by affectionately telling Angel to bugger off back to his own show and killing Caleb with a sword to the bollocks. You’ll excuse me if I don’t get up right now, but that’s quite the statement of intent.

There’s nuance, too, of course. The final episode takes time for Buffyvto golf out hope of getting together with Angel one day, to spend one last night with Spike, to imagine both of them wrestling with oil involved. We get to see Kennedy being a lovely girlfriend to Willow again in the night before battle, and signs that Robin may actually have been able to seduce Faith into seeing him as more than a one night stand. Shouldn’t she be off back to prison at the end, though? She’s no longer needed, and there’s more atonement that needs doing. This is the only sour note.

There’s more. We get the D&D scene, Giles gets one last “The Earth is definitely doomed” for old times sake, and Anya gets a heroic death saving Andrew. And then, of course, there’s Spike’s heroic sacrifice, with those heartrending last words as he gently tells Buffy that actually, he knows she doesn’t really love him but he appreciates the little white lie.

And so Sunnydale is gone, just a crater. No more High School, no more Hellmouth, no more mall, no more Bronze. I’ll miss the place. Thank you, Joss Whedon. He’s had a long and magnificent career but let’s not be silly: Buffy is his masterpiece.

Buffy the Vampire Slayer: End of Days

"Oh! Jaffa Cakes!"

 This is the penultimate episode of Buffy. Ever. So it’s back to good old feminist basics.

All the agency here is female. Yes, Buffy is back, and implicitly the leader again with the agreement of all including Faith, but this time she’s armed with a kick ass MacGuffin and with a largely female gang against a massive evil whose main fighter is a deeply misogynistic man. Her male allies tacitly accept that it’s not about them- Xander leaves town with Dawn to protect her; Giles accepts that research would be better conducted by Willow’s feminine magic, and Andrew is, well, Andrew. Even Angel, turning up at the end, accepts that the fight against Caleb must be Buffy’s alone. Everywhere, female agency abounds.

Which is not to say that all goes well; more redshirt Potentials die. Or that men don’t matter; Spike declares his love for Buffy once more in a meaningful scene. Yet this is a love scene in which traditional gender roles are reversed, with Spike as the supplicant wanting to tie down the hero. But this episodeis one last focus on what the show is about before the last episode where Stuff Happens. Buffy even talks to a mysterious ancient woman who represents the feminine power behind those ancient men who created the acids Slayer and became the Watchers, implying through riddle-like speech that Buffy can only beat the First by doing things differently, perhaps smashing the a Patriarchy a little more.

Other stuff happens, of course. Kennedy looks fated to be an awesome warrior. Anya’s bedside manner is a wonder to behold. Andrew thinks he’ll die in the final battle and seems to have made his peace with that. But we’re all set for that last finale, in terms both of plot and theme. Let’s go...

Buffy the Vampire Slayer: Touched

"Your performance as a disgruntled minion was spot on"

"I'm method."

It’s an interesting way to do the episode just before the two part final battle, just after the episode in which our titular heroine has hit rock bottom, rejected by all her friends. In a way it’s catharis for last episode; in a way it’s also a way to get everyone to have sex before a big battle before some of them, and not all of them redshirt Potentials, will die. Perhaps it’s convenient that the First and Caleb are busy in their cave this episode, but it’s important that we slow down and do all this character stuff.

It’s uncomfortable without Buffy and Faith- crude, uneducated, is unsteady as leader. That much is clear. Her plan to kidnap a Bringer and make it talk is good, and Dawn’s linguistic skills in magic lore (Ottoman Turkish this week) are impressive, but they don’t discover anything not already found out by Spike, Andrew and Buffy.

As for Spike, he’s not happy with what he finds on his returns and has some harsh and truthful words for Willow’s blatantly practised speech (“You sad, sad, ungrateful traitors”), some fists for Faith, and some harsh words for them all. And when he finds Buffy he finds her so very down- Sarah Michelle Gellar does a scarily realistic performance as a depressed person.

But this is an episode about healing, so out he comes with the uplifting, cathartic pep talk, reminding Buffy who she is. And this leads to a cuddle, and then some healing sex.

Cue more healing sex back at the house, before the big battle. Faith and Robin- I called it- Willow and Kennedy, even Anya and Xander. It’s lovely, but by the laws of drama it must also be ominous.

So Buffy and Faith & co make simultaneous assaults on the vineyard, where a reenergised Buffy runs rings around Caleb by dancing like a butterfly. She discovers what looks like a useful MacGuffin. Unfortunately Faith finds a time bomb...

It’s starting.

Buffy the Vampire Slayer: Empty Places

"I keep waiting for my other senses to improve 50%. That'll kick in any day now."

The end is nigh, and after six previous seasons we know that the narrative requires a wedge between the Scoobies in afvance of the final battle. We’ve already seen a bit of this with the ongoing estrangement between Buffy and Giles, but the end of this episode sees this sort of thing taken to its devastating extreme, with Buffy being kicked out of her own home by her own sister.

It’s made very clear that things are dire. There’s a mass exodus from Sunnyvale, including Clem. School is closed. No one has any way of fighting back against the horrible misogynistic Caleb, whose dialogue is horrifying and who represents an acting triumph from the great Nathan Fillion.

There’s a little humour early on, yes, with Anya’s lecture which ends up with Andrew writing “break-up sex on the board, but otherwise things are unrelentingly grim. Thevdull teality of Xander losing an eye really hits home; it’s devastating to see Willow about to cry when Xander makes a quip about being spared Jaws 3-D, and Xander simply saying “Please don’t.”

Morale is rock bottom, and Faith’s attempt to cheer up the troops by taking them to the Bronze goes horribly wrong. The police are carefully stated to be “Hellmouthed” and shown to be brutal and corrupt so that we root for Faith against them. Fair enough. But I still expect her to return to prison when this is all over. As we established long ago, slayers are no better than other people and shouldn’t have privileged status.

Faith and Robin seem to connect. And Spike and Andrew go off on a mission that may provide useful knowledge against Caleb. But things are miserable, especially after Xander Returns with that horrible injury. So the response to Buffy’s plan- to attack the Vineyard again because it’s obviously important- meets a negative response from even those closest to her. Buffy doesn’t help herself by saying the wrong things; slayers are no better than other people. It’s a hard hitting ending, but Buffy gets the last word, pointing out that Faith now has to cope with the burden of leadership.

Buffy the Vampire Slayer: Dirty Girls

"Why would Faith kill a person who studies Vulcans?"

Wow. That’s an amazingly compact but efficient “previously on” that manages to cover an awful lot of ground. I’m impressed.

Everything about this ominously serious episodes points to something shocking terrible happening. From the constant reminders of how the Potentials are untested, to Xander’s rousing speech about how Buffy cares about their lives which makes it certain that something bad will happen to him, to the atmosphere of doom and gloom, we expect something tragic to happen.

In the meantime we get introduced to the darkly misogynistic and manipulative Caleb, a superb preacher-like villain played by the ever-superb Nathan Fillion, recent refugee from Firefly. Caleb gives a face and personality to the First, somethingbthat was previously missing, and is both enormously charismatic and (as we shockingly see at the end) strong enough to swat away slayers like flies. We also have Faith’s awkward return to Sunnyvale, where under the circumstances she’s certainly welcome but doesn’t fit in. But she and Spike bond over their shared bad past, their shared kinky natures, and the revelation that they have in fact had some incredible sex in the past when Faith was pretending to be Buffy. First impressions and all that...

It’s weird, although inevitable, to see Faith and Dawn recognise each other though.

We also see Buffy and Robin reconcile, although he fires her; she has far more important things to do.  But much of the interaction concerns the wisdom of Buffy’s proposed attack on Caleb- both Giles (still in the doghouse) and Xander disagree, which I’m sure is something we will return to next episode. But we end with the assault on the First and, of course, evedything goes wrong as a redshirt Potential is killed- and Xander loses an eye.

A tensexand superb bit of telly, then, that makes it clear we’re now entering the final stretch.

Buffy the Vampire Slayer: Lies My Parents Told Me

"Darling, it's who you'll always be- a limp, sentimental fool."

Yet again, as we often see this season, an episode has a title that is dnably clever, the more so the more you think about it. Parents lying to their offspring, real or symbolic, is at the heart of everything.

Plot-wise, of course, this is the heavily-signposted episode where Robin finally attempts to get revenge on Spike for his mother Nikki’s death, enabled by Giles (whose attitude is again heavily signposted), who betrays Buffy in doing so. In doing so, of course, what Robin achieves is only to finally cure Spike of the First’s trigger.

But beyond these bare facts it’s all about parents lying to their children. In flashbacks from
The 1880s we see young William reading bad poetry to his doting mother, and then again we see him newly camped by good old Drusilla, eagerly giving everlasting undead existence to his beloved mother. But then, bereft of a soul, his now evil mother says deeply wounding things to him, so effective that the First is able to use her lullaby as a trigger even today.

And yet this is, of course, a lie. Those things were not said by his mother but by a demon. That’s fairly obvious. More subtle, as Spike says, is what Nikki says to Robin; like Buffy, she is in the final analysis alonevin the decision she makes and, as per the phrase that both she and Buffy use, “the mission is what matters.” I’m sure she loved her son, but he certainly didn’t come first, and that must hurt.

Finally there’s the symbolic father/daughter relationship between Buffy and Giles, who have been particularly close lately. It’s not the first time he’s betrayed her, of course, but this time he isn’t being forced to do so, which makes it worse. Yes, he has his reasons, but he goes behind Buffy’s back and lies to her. She clearly finds this hard to forgive, as the final symbolic closing of the door shows.

All very impressive, then, even if a lot of regular characters get rather little to do. But it’s worrying that a central relationship between two of the Scoobies is seriously damaged just before what looks like the biggest armageddon yet...

Buffy the Vampire Slayer: Storyteller

"Why can't you just masturbate like the rest of us?"

We’ve just had an episode of Angel all about redemption; now it’s time for Buffy, and Andrew, to do the same. And who better to handle the required mix of comedy and serious themes than Jane Espenson?

It’s always risky to handle a character like Andrew who is, as we are forcefully reminded, a murderer,   and use him as a comic foil. It’s to Buffy’s credit that, looked at overall, they get the balance right. It’s clever to frame the episode around Andrew filming the Scoobies for a supposed documentary, to have all kinds of funny and court-wall breaking fun, but then to undercut that, as the episode does, that Andrew is simply playing the outside observer role to escape from the terrible thing he did when being active. He tells stories to his own advantage, and this is where Buffy forces him to face up to the truth.

The ending is edgy, of course, as Buffy seems about to kill him- again emphasising the hard edge she’s had of late, with the prospect of the biggest armageddon yet. And we end with the unanswered question of “What if the tears didn’t work?”

This is all cleverly mixed in with the urgent need to close that door in the cellar, of course, which is causing unsustainably enormous Hellmouth activity. This loose end is tied up, but Robin’s vengeful hatred for Spike continues. And it appears that Anya and Xander may be reconciling as they have some good sex- is this a one-off, or...?

Jane Espenson seldom disappoints. Is this her last episode? Is this the last light-hearted episode? It’s tome to ask those questions: not too long to go now.