Buffy, jumping off the ledge in Season Five |
There are plenty of reasons why Buffy doesn’t often get recognised as the masterpiece of a show that it was. All the really great television series of the last fifteen years or so have been serious, downright worthy affairs and critics have taken them very seriously in turn. Buffy took itself very seriously indeed too, but there was always a deliberate, inherent silliness in its central premise that turns many people off before they even give it a chance. Furthermore, my belief that it’s one of the greatest shows of all time doesn’t mean I’m not fully aware that it has its fair share of dud episodes – such is the curse of the 22 episode season and the way the show figured itself out as it went along.
But its strengths are strengths that none of the other big US dramas have. For one, the flexibility of its form meant that it could be any kind of show it wanted: one week it’s a goofy comedy, the next it’s a frightening fairy tale, the week after it’s an all-singing all-dancing musical. It was clearly the work of a team of writers, too, and when I was young and watching it for the first time it was the first time I really started to learn how TV was constructed – I got a thrill from seeing who had written each episode and guessing at what kind of episode it was going to be by who wrote it. Above all, though, the thing that Buffy has in spades that most shows lack, and the aspect of the show that season five best showcases, is emotion. Even at its most laid back, Buffy is a show spilling over with emotion, and it’s this that gives the potentially goofy premise of show its weight. Whedon et. al. were absolute masters at making us really care about their characters, and every audacious plot contrivance was easily swallowed when viewed through the lens of the real, human emotion that they would imbue it with.
Take, for example, season five’s biggest plot contrivance – Dawn’s sudden appearance as Buffy’s sister. She’s never been mentioned or seen before, everyone’s acting as if he’s been there all along, and aside from one crazy tramp seething at her that she doesn’t belong here, we the audience aren’t given many clues as to who or what she is for six entire episodes. When we do find out what she is – a mystical key sent to Buffy and her friends to protect, complete with fabricated memories so she’d love her deeply like a sister – it doesn’t come easy, and doesn’t make things any less complicated. Many people call Dawn the albatross of the season, but while her character becomes much more problematic later on the series’ run, I think she works beautifully in this season. Moments like the one where Joyce realises what Dawn is and loves her anyway, or when Buffy talks to her about how they share the same blood, are some of the most beautifully drawn and tender moments the series ever produced, and if she hadn’t been there the show would have been drained of all its agency.
If I was going to pin the blame on any character for dragging down the season in its early episodes, it would be Riley. From the outset of the season it’s clear that the writers don’t really know what to do with him now that the Initiative business from Season Four is done and dusted, but they take an awfully long time to get rid of him. I’m sure that the plotline in which his insecurities at no longer being a superman lead to him going to some kind of vampire sucking den for cheap thrills looked good on paper, but it sticks out like a sore thumb in a season that’s otherwise thematically harmonious. In a season that’s more about confronting the hard-edged reality that our heroes ignore by fighting monsters, this slightly hysterical flight-of-fancy just doesn’t work.
That’s a small quibble, though, when you’re faced with a season of television that’s otherwise so thematically rich and intricate. All the themes and motifs of the series – family, power, blood, death, the toll being a slayer takes on Buffy’s loved ones – all bounce off one another in constantly fascinating ways.
Take, for example, the season opener, “Buffy vs. Dracula.” At first glance it’s a fun, punchy, exciting opening to the season, but in retrospect it kicks into gear a lot of what season five is trying to do. To begin with, there’s a renewed focus on Buffy’s blood as something powerful and life-giving, an idea that is teased throughout the season but doesn’t come to fruition till its final moments. Most importantly though, it ups the stakes and deepens the mythology significantly. Season Four’s closer “Restless” did a great job of connecting the slayer to a deep and ancient power, but it’s in “Buffy vs. Dracula” that she sets out to learn what that means, tasting the darker side of her power and asking Giles to help her harness it.
Perhaps that’s why this season feels so different to what came before it. Everything feels grander, more important, like the writers are making the show they’ve been preparing for all this time. They have more confidence than ever in the story they want to tell – early on in the season they drop the college as the show’s hub, instead centering on Buffy’s two families: her mother and sister at home, and her friends at the Magic Shop. It results in the season being far more streamlined and the overarching plot having far more prominence – there are few episodes that have no connection to what’s going on with Glory and Dawn, and even the most inconsequential-seeming episodes – “Triangle” and “I Was Made to Love You” – have things in them that become important later. Many people miss the one-off, monster-of-the-week aspect of the show from season five onwards, but I always found that Buffy worked best when it was dealing with more long-form, character-based storytelling, and season five’s arc has to be its strongest.
Willow and Tara sharing their first kiss in Season Five |
And then there’s “The Body.” To say that “The Body” is a great episode of television would be an understatement. It’s one of the most ambitious, devastating, daring and powerful things ever committed to the small screen, saying more about death and grief in one episode than Six Feet Under managed in its entire run and looking and feeling unlike anything I’ve ever seen before or since – including any other episode of Buffy. Using no non-diagetic music and limiting each act to just one scene, Whedon tracks Buffy’s loss of her mother with stark, hyper-realist immediacy. People are quick to criticise Sarah Michelle Gellar’s acting ability, but she does great work here, and her journey from blind panic and fear to numb, empty grief is devastating to watch. So many tiny moments stand out from the episode’s first act alone – Buffy rearranging her mother’s skirt before the paramedics enter; the strange, unclear way she says “She’s at the house” to Giles on the phone; the moment when she opens her backdoor and peers out into bright sunlight and the world still going on outside – but the episode’s best moment is the scene where Buffy’s friends each go through their own grief. Willow frets about what clothes she should wear while Tara comforts her (with what was their first on-screen kiss despite them having been a couple for over a year), Xander punches a hole through the wall, and Anya asks a lot of questions. Anya’s recently-mortal status has been a bottomless well of comedy since she became a regular cast member, but here she surprises everyone and gives a speech that’s unbearably sad: “She’ll never have eggs, or yawn or brush her hair, not ever, and no one will explain to me why.” The gang have faced all kinds of insurmountable odds, but when faced with the cold hard reality of death, none of them has the answers.
Anya in tears after the death of Joyce |
So, while conventional wisdom will cast season 3 as Buffy’s finest year, and many will cite Season 2’s Angel-turns-evil plotline as the show’s most operatic, emotional arc, I respectfully disagree. Season 3 is terrific fun, and Angel’s transformation is as sensational and rewarding a plot twist as they come, but Season 5 has both four years of history behind it and a committed drive to produce something more daring and ambitious than ever before. Its influence is still being felt now: without Buffy, there’d be no Lost, no 24, no new Doctor Who, and yet none of its many protégées has ever come close to the emotional gut-punch of Buffy jumping off that ledge. If you’re ever left wondering why Buffy the Vampire Slayer has such a huge cult following a decade later; if you’re baffled by why someone would bother to write 2,000 words about it in 2012; mark my words: you are missing out.
———-
2 thoughts on “Buffy the Vampire Slayer Week: Death Is Your Gift–In Praise of Buffy the Vampire Slayer’s Fifth Season”
Comments are closed.