Saturday, July 29, 2006

Buffy the Vampire Slayer: Season 1, Episode 10: Nightmares Review

Nightmares
Original Airdate: May 12, 1997
Writer: David Greenwalt
Story: Joss Whedon
Director: Bruce Seth Green

The last two episodes were light in character fare, but this episode is immersed in it. Dreams are a very common narrative device, which can be effective, so long as it isn't spelling out what should be clear to an elementary school student ("Six Feet Under", I'm looking at you). "Buffy" uses dreams in context of the show occasionally, but this episode is one of the rare exceptions where dreams are the central point of the episode. The most famous instance of this is "Restless", the fourth season finale. While this one doesn't come near that one in complexity, it adds some needed depth to the show, which meandered through two mediocre episodes.

For starters, The Master returns. As the episode is about fear, it would make sense that he shows up amongst the nightmares. With the demon in the internet and hunter puppets, it could easily be forgotten that the major vampire is still below them trying to break out. One of the bigger weaknesses of season one is that he doesn't pose much of a threat to be mentioned much in the episodes he isn't in. It also doesn't help when his two highest profile minions died some time before this episode. Future seasons would usually do better integrating the "big bad" into the season, even if they didn't play a large role in some episodes.

It’s also worth noting that while she has visions of The Master in her dreams, this is the first time that any of the gang has actually seen The Master. Since he never goes out of game face (but The Anointed One never does for some reason), and his blood stained mouth, it would be safe for her to realize who this is.

Buffy's dad Hank makes a rare appearance. His role in her life in this episode is different from what would eventually become the status quo. Hank is hardly the estranged father figure that he would be regarded as in future episodes, especially his absence during major events in Buffy and Joyce's lives. Makes you wonder whether this change was off camera or if they re-tinkered with his role on the show.

This episode also touches upon Buffy's troubled past, and how she feels that affected her family life. Even if they don't know, being a parent to The Slayer is a tall order. It makes sense that she would believe that these newfound stresses intensified or created the divorce. Thankfully, I'm not a product of divorce, but kids often blame themselves for it, and Buffy has a huge reason to justify that. Maybe I'm going to hell in part for this, but Hank saying that Buffy is why his marriage failed is almost funny.

Unfortunately, Buffy doesn't have any nightmares about her complicated relationship with Angel. In "Angel", we learned of Angel's demonic capabilities, and that he walks a thin line between redemption and his evil past. In hindsight, these would've been good to see knowing what's in store for the show in future seasons.

It's a little thick headed for Giles not to believe that becoming a vampire herself would be among Buffy's biggest fears. It would be like being surprised that a fireman is afraid of being killed in a fire. However, it is true to his character to be slightly aloof on human matters. Also, while his nightmare of illiteracy isn't surprising, it is given an appropriate amount of screen time.

His other one, of Buffy dying, is interwoven seamlessly with Buffy's nightmare of turning into a vampire. Unfortunately because of budget constraints, they couldn't afford some apocalyptic sequence that would represent Buffy's nightmare of failing to save the world, but that is forgivable since they didn't have a lot to work with in this episode. However, this nightmare is still a potent one for a slayer to have.

There is plenty of opportunity for humor in nightmares, as self-absorbed kids are taken down a few pegs and our gang experience several embarrassing moments via the nightmares. Xander's nightmares focus more on embarrassment and lighter issues than his friend. His exposure in front of his peers would've probably been more mortifying if he had my physique, which would probably be more appropriate for his character. Cordelia's nightmare, turning from sexy mean queen to frumpy chess club patron, is easily the funniest bit in the episode.

Of course, as Willow points out, separating when they go look for Buffy isn't a great idea and in many horror movies is the time when the characters are picked off individually by the menace. This time however, it gives us an avenue to see specific fears of Xander and especially Willow. The epilogue in "The Puppet Show", while it could easily be written off as some silliness for laughs, tapped into Willow's stage fright, a characteristic that is revisited occasionally on the show, and is the central point to her "Restless" dream. But what was with all those sheets of plastic in Sunnydale High?

The cause of all this, a comatose boy projecting himself with nightmares to sneak in as well, is essentially a MacGuffin. Billy and his abusive coach beating him aren't important to the story, but what Billy's projections do is important for the characters. The Ugly Man at times comes off as a little corny rather than menacing. Is his hand a club or is he holding one?

While this episode isn't special, it is a step up from the past two installments. Character is key, which is always good. The central menace returns to remind us of what still is at stake. It does stand pale in comparison to later explorations of these characters' minds.

Score: 7/10

Monday, July 24, 2006

Buffy the Vampire Slayer: Season 1, Episode 9: The Puppet Show Review

The Puppet Show
Original Airdate: May 5, 1997
Writers: Dean Batali & Rob Des Hotel
Director: Ellen S. Pressman

One of the major differences of the first season compared to subsequent ones is the lack of continuity when it comes to advancement of the major plot line. With the revelation of Angel being a vampire, it would make sense to have a bigger emotional fall out beyond that episode. However, in the subsequent episodes it is barely mentioned. Of course, future episodes of Buffy would take some time off for self-contained adventures, but this episode is stagnant, focusing more on the clever plot twist than advancing characters or the overall story.

The biggest problem in this episode is Sid, the demon hunter whose soul is trapped in Morgan's dummy. Puppets in action are tough to do without being funny, especially after "Team America". "The Puppet Show" doesn't accomplish it, but "Angel" would have better luck playing that angle for laughs and having many great character moments in between. Maybe that's the only way to do it. Also, it was a little perverted for the puppet to be making all those remarks about Buffy and Willow since they are only 16 (since the actresses weren't, I'm not being creepy).

Thankfully, all the signs that pointed to an obvious "the dummy is the killer" explanation were vague enough to lead to the twist that a monster, not Sid, is responsible for the bloodshed. However, the goofiness of having the puppet moving like a human can't be shaken off. Ultimately, the major threat is buried under the story of Sid. This wouldn't be a bad thing if the monster weren't treated like an afterthought.

The biggest event in this episode is the introduction of Principal Snyder, the hilariously grumpy replacement for Flutie. While the characters remain relatively stagnant in this episode, Snyder's development goes into overdrive. Flutie was one to follow the nurture method of discipline, whereas Snyder wishes for the days when the "Board of Education" was a wooden paddle. It adds to the drama, as Buffy has a reputation for getting in trouble and a "let's talk about our problems" principal can only go so far.

Cordelia's painful rendition of "The Greatest Love of All", and her reaction to "the hair trick", were hilarious. We also learn about Willow's stage fright. Besides that, the characters aren't given much to do in this episode. Instead, they are mere plot devices, which is a bit frustrating coming towards the end of the first season. Couldn't there be more of Willow deciding whether to continue pining for Xander or Xander pining for Buffy?

Overall, this is another forgettable season one episode, saved from disaster with an interesting twist, some choice lines from Snyder and a hilarious epilogue with the three doing a good job doing a poor job acting.

Score: 5/10

Sunday, July 23, 2006

Buffy the Vampire Slayer: Season 1, Episode 8: I Robot, You Jane Review

I Robot, You Jane
Original Airdate: April 28, 1997
Writer: Ashley Gable & Thomas A. Swyden
Director: Stephen Posey

After the major revelations of the last episode, this episode feels like a drawback. While there is some character development with Willow, the supernatural element doesn't quite mesh. It can be tough to write science-fiction about robots and technology without making yourself look silly and they don't quite accomplish it. Even they reference such liberties (from the movie Independence Day), but it doesn't diffuse their own mistakes.

Before I get to the meat of the episode, I'm glad they didn't use too many of these clever for the sake of clever titles like this one. The writing on Buffy was usually far better than these silly titles. It doesn't even make sense! Shouldn't it be "I Robot, You Willow"?

This episode is the final piece in a sort of "None of us are ever gonna have a happy, normal relationship" trilogy. Clearly, the best of the three was "Angel", although the less than stellar installments didn't stop them from trying again with usually better results (at least the long-term romances). Happiness in relationships is a long running theme on the show. We see Willow's problem early on is her shyness, which can lead her to be influence by others.

No one can argue that the internet can be a dangerous place. With billions of people having access to it, there are plenty of predators online ready to take advantage of more naïve users. This lure is similar to the spell Moloch cast on those who followed him. Willow at this time is in a vulnerable place with the reality that Xander isn't interested in her made very clear. Overall, this works as an analogy, but the delivery isn't quite as effective as it could've been.

With their critique on Internet culture, they come awfully close to biting the hand that feeds. "Buffy" has had a huge online following for a long time, and they have helped anything Joss Whedon has touched. Hell hath no fury like an internet nerd scorned (I'm in recovery). Luckily, this episode wasn't nearly as mean spirited or memorable as to turn off this fan base. As Ms. Calendar points out, Moloch didn't originate from the computer, but a book.

This episode's biggest contribution to the series is the introduction of Jenny Calendar, who would have some major things to add to the show in later episodes. She helps Giles' character as someone to try to get Giles to relax from his stuffiness. Sure, the gang does that well, but Ms. Calendar has more authority. With the friction between them, there are glimpses of a possible romance, like Buffy and Angel in the pilot. I'm not sure which is more alarming; that she is a little too comfortable with the supernatural menaces the gang experiences, or that she isn't surprised that Giles is aware of them.

Besides Ms. Calendar's introduction, Willow's progression works well. While she allows herself to be manipulated by a monster, eventually she can see through his façade, unlike the other people who helped give Moloch form again, and fights back. This shows a bit of the strength Willow would get throughout the series.

It seems that the writers only had a passing interest in computers, which makes some of the events in this episode a little silly nine years later. For some reason, they think shutting off the monitor turns off the computer. They even have a need to pixilate the life out of Moloch's video threat to the gang to show that he's in the computer (seriously, some kid working on a video blog can compress a video better, but I digress in my nerdiness). Even today, casual computer users could poke the flaws in the abilities of 1997 computers, or even 2006 ones.

The opening is very good for the low budget first season. The make up for the physical Moloch is pretty impressive even when he only has a minute or two of screen time. The While I thought Moloch's robotic suit was cool (even if it was reminiscent of a Godzilla movie), his voice felt too reminiscent of another evil robot, the HAL-9000 computer from 2001, complete to one of the boys being named Dave. They couldn't give him a little more menace? It would've worked better, even if it was expected.

This episode was an average effort, marred with some sloppy research on the central piece of the episode. However, some of the special effects are above average for season one, and there are some seeds planted for later, superior episodes.

Score: 6/10

Friday, July 21, 2006

Buffy the Vampire Slayer: Season 1, Episode 7: Angel Review

Angel
Original Airdate: April 14, 1997
Writer: David Greenwalt
Director: Scott Brazil

I gave David Greenwalt a lot of grief in his first penned episode, "Teacher's Pet", and for that I do feel a little guilty (but I stand by my review) because he did prove himself later like this episode. This episode is a much welcome improvement for him, and is a major stepping stone in the show's early days. It is fitting that the man who would be the show runner for the first seasons of "Angel" wrote this episode, as it laid out the groundwork for this mysterious, pivotal character.

Let's say it: Angel is a bloodsucking vampire. Man, it was tough writing the first six reviews without spoiling that huge piece of information from anyone who may not know the twist. It may be pointless, however, as that piece of information would be in Joss Whedon for Dummies' first chapter if it were ever printed. So the twist's shock value almost ten years later is all but gone, but the meat behind the twist makes it still memorable.

Originally, Joss Whedon balked at the idea of having Buffy's romantic interest be a vampire because he felt the notion was too cliché. Luckily, he decided to keep that element, and the show had some great storylines in future seasons (not to mention Angel's spin-off series). This episode serves as a template for Angel's entire story, with basic information sprinkled into the episode without avoiding prolonged exposition dumps.

It also helps to have Angel's evil vampire persona be one of unparalleled brutality; even The Master has to admire Angelus' brutal methods. It could be almost easy to ignore his past if he was average in his evil. It is a lot to atone for, and leaves a lot of potential for the future. There is no way that Buffy and Angel can have a life together, but the bond between them is too strong for either to deny. That doesn't even take into account what will really divide these two!

While this romance is a major piece of characters and their series', they seem to speed up the flirtation between the two of them in this episode. Previously, Angel had only appeared in passing to give Buffy a warning about some evil while she nursed a crush in between. Buffy's confrontation with The Three must've moved things along. In retrospect, this liberty is a minor complaint.

This episode introduces some more to the vampire mythology established in the first episode. A vampire being unable to enter a private residence is a nice detail, but the fact that vampires (except Angel) lack souls is what really makes things interesting. What composes a soul for vampires is a debatable subject. How do vampires have personalities if they don't have souls? It seems most likely that the soul that a human loses when they transform into a vampire is the conscience. Without that, vampires can kill and feed without any sense of guilt.

Looking back in both Angel and Buffy's series, this episode shows some inconsistencies with what would become Angel and Darla's back-story and mythology. In every future episode where the bad guys hope to turn Angel back to the dark side, they attempt to take away his soul. Instead, Darla tries to use her history with him and his "different" status to outcast him enough where he would do something dangerous. Considering that history, Darla should know that it'll take a lot more to turn him.

However, back then (as we'll learn more about later), Angel couldn't find his purpose in life after being cursed with a soul. He wasn't human, but he couldn't associate himself with the monsters he was a part of anymore. His hundred years of solitude left a mark, as opposed to the future attempts to unleash Angelus, when Angel was secure in his place as defender.

This conundrum isn't lost on the gang either. Angel is the thing Buffy has to hunt and kill every night. However, Angel isn't a vicious predator anymore. This is the first episode to blur the lines between good and evil, which previously were defined: The Master and his minions on one side, Buffy and her friends on the other. That revelation proved crucial for "Buffy" and "Angel", as redemption is a major theme for many characters.

Yes Darla, I really like the schoolgirl outfit, and many guys would agree with me. Darla really steps up in this episode. In the pilot, she was subservient to The Master. Now, while still following him, she is much more aggressive. Perhaps her relationship as Angel's sire made her a little daring. Julie Benz and David Boreanaz have great chemistry together, which works well played against Boreanaz and Sarah Michelle Gellar. I only wish we saw more of that in the first season!

One thing worth noting is that this is one of the rare instances of modern weaponry brought into the fold. This could explain why Darla is such a lousy shot (or she went to the University of Firearms for Villains, which teaches people how not to hit the broadside of a barn with a rocket launcher). The absence of such arms, while keeping the show from lasting more than five minutes, adds to the show's style.

Considering Xander's jealousy, it makes sense that he would be adamant about getting Angel out of the way. This attitude of his never completely goes away, especially in the next few seasons. Giles is a less extreme version, but he is more interested in business, and eliminating evil is that. Willow appears more empathetic because of her own crush on Xander.

As Flutie's death remains fresh, Joyce could've easily been next on the chopping block. Darla is capable of killing a woman who is still unaware of the hellish nature in her literal backyard. Buffy has been able to keep her mother in the dark about the truth, but this breech is clear that it will eventually crumble, something that plays out further in future episodes, which makes her survival worthwhile.

This is definitely one of the high points of the season and a major turning point for the series. A twist that could've easily blown up in their faces turned out to make the show increasingly better. The ramifications of this episode resonated throughout both "Angel" and "Buffy", which is pretty telling of its impact.

Score: 8/10

Thursday, July 13, 2006

Buffy the Vampire Slayer: Season 1, Episode 6 Review: The Pack Review

The Pack
Original Airdate: April 7, 1997
Writers: Matt Kiene and Joe Reinkemeyer
Director: Bruce Seth Green

Possession, in one form or another, is a good plot device the writers on this show have used many times over the years to move things along. Usually the best examples are when possession throws things into disarray, like the Angel episode "Billy". This episode has some very jarring moments as the hyena possesses Xander, but he manages to avoid long-term backlash because his actions weren't attributed to him. This is the big problem of the episode. Perhaps the first season would've been more intriguing had the gang had some tension between them leading up to the finale.

For this episode, they focus on high school sociology, paralleled with wildlife possession. With supernatural analogies, this works very well. Cliques in high school can be absolutely brutal teasing others just like predators in nature prey on weaker creatures. Have a mean spirited pack become possessed by hyenas, then have Xander become entranced as well, and you got a workable scenario. It works well enough that Giles initially dismisses it until the pack chows down on the mascot.

It's good that they reminded us that Buffy is supposed to be an outcast on the show. Considering the fact that Buffy is smoking hot and stylish, it could be easily forgotten why she isn't popular. With Lance, it's clear why he is singled out for humiliation. He could be an early version of Jonathan. The characters could be switched and it wouldn't affect the scene.

The gang itself reminded me of many of my junior high/high school tormentors in their ruthlessness. They are rude, obnoxious, but also wielding a certain amount of power. At heart, this episode is a cautionary tale of peer pressure and where it could lead (OK, you won't eat your principal and mascot, but the point stands).

Xander, at the start, is a good guy who sticks up for Lance when Kyle and his friends are teasing him, but he quickly finds himself entrenched in Kyle's ranks. We've all known one of our friends (or been one) to go to another group, one who may not be best for us. Mob mentality and peer pressure can be very dangerous, but the episode doesn't quite deliver that message as effectively as it could've.

While it would've been too much for Xander to eat a human being, but it doesn't seem right that Buffy would shake off his attack that well. Yes, he was possessed, but his actions were still very real and would shake even a seasoned slayer like herself. Without being spoilery, there are events of a similar nature that rock Buffy to her core, but this she can almost laugh off.

Even Willow, who Xander abuses emotionally, recovers a little too easily. This is the first episode where Willow explicitly expresses how she feels about her friend, which makes Xander crushing those thoughts all the more hurtful to her. To have your high school crush totally crush you is devastating. Yet she manages to bounce back once the spell has been lifted. It seems too easy for them to let it go.

Willow also shows a little bit of jealousy towards Buffy. It makes sense, since Buffy is the object of Xander's affections, not her. Buffy's also the new girl in town, shaking up the dynamic they've had since they were kids. She's sexy too, which definitely hurts Willow, still away from coming out of her shell. How can she compete, even with Xander not interested?

The brutal and sudden death of Principal Flutie raises the stakes for Buffy to reverse the possession. On shows like Buffy, it's common to have many red-shirts die during episodes like this one, but the importance of character warranted it. It was also a very good decision character wise, as Flutie wouldn't have been nearly as effective in the future high school episodes as his replacement, Snyder. One nit pick; despite eating a pig and Principal Flutie alive, the pack don't have a speck of blood on them or their clothes. They must be the cleanest savages ever.

It's doubtful that anything came from investigating Flutie's death. Since Xander remembered being possessed, the pack would certainly remember eating a human being alive. That secret isn't going to go beyond them (besides what Buffy's gang may say). Also, while the autopsy would reveal evidence that humans were responsible, the authorities would likely want to keep this very quiet, instead passing the blame on wild dogs. Such concepts as these won't become clear until later seasons, when we learn more about the politics of Sunnydale.

Not much happens in this episode as far as the on going storylines involving The Master or Angel, although he is briefly mentioned. Like "Witch", this episode seeks to show us that there is more to this show than vampires. Some of the central elements of season one's story, like The Master and Angel (who is briefly mentioned), aren't featured, but it wouldn't have been as problematic as if they decided to amplify the consequences. At least they learned the problem with that for future episodes.

Score: 7/10

Wednesday, July 12, 2006

Buffy the Vampire Slayer: Season 1, Episode 5: Never Kill a Boy on The First Date Review

Never Kill a Boy on The First Date
Original Airdate: March 31, 1997
Writers: Dean Batali & Rob Des Hotel
Director: David Semel

I realize that I was really harsh in the previous episode's review. I assure those who are a little sensitive that there will be plenty of good reviews coming. I wouldn't pick a show to review just to trash it all the time. It's just some of these early episode weren't indicative of what the brilliance we'd see later. This episode is a marked improvement from last week. It is much less silly and the writing is certainly tighter.

Like in "Witch", Buffy attempts to live the normal teenage girl life. She wants to go out with guys like any girl her age. She has a little crush on Owen and wants to spend time with him, regardless of the ascension of the Anointed One. Not to have Buffy come off as flaky is definitely a major problem with this story line. It would be hard to sympathize with someone who was worrying over a boy when a major piece of The Master's plans is about to come into fruition. Luckily they pull it off, as Buffy steps up and learns a serious lesson in the process.

The episode starts with the first in the typical opening scenes where Buffy fights and dusts a vampire. It's interesting that what many expect in a typical episode Giles criticizes for being over dramatic. He does have a point (pun not intended); Buffy should just stake her prey and move on to the next one. Why isn't explained fully until season five. It's doubtful that much was to made out of this observation, but in the scheme of the series it works well.

While the body and clothing of a staked vampire turn to dust, apparently some parts manage to survive. In this case, it is a ring indicative of The Master's cult, called The Order of Aurelius. While some may argue of the convenience of the ring surviving, it is the impetus of this week's plot, and deepens our understanding of The Master and his business. Is Aurelius a reference to Marcus Aurelius, the Roman Emperor of the 2nd century? It wouldn't be hard to believe that Joss Whedon would fuse some real life events to his history. The Order must predate The Master, as he isn't made until the late 14th century and the Order was founded in the 12th, but Joss claims to be bad at math, so that may be overlooked. It fits for The Master, who is an "old school" monster, and his minions (especially prophesy quoting Luke) to have this kind of history and invest this much in prophesy.

Andrew was a clear red herring for the Anointed One. His bizarre quotation of scripture on the bus and the fact that he's on the run for murder would make him fitting for the Order of Aurelius. Of course, we know he isn't because the prophecy states that Buffy won't know who it is and he'll slip by her unnoticed. That piece of information is conveniently kept away from our heroes. Having it be a child is an interesting choice, but this appears to be more of the shock value of having it be a kid. What good does having a kid be the key warrior for The Master? The kid can't age after this point.

On that note, there is only one funeral home in all of Sunnydale? Perhaps Buffy should look into that considering the high body count in the town is likely to draw a lot of business. They could be the most powerful business in town. Of course, the number of cemeteries is another sign to why houses in Sunnydale are probably very cheap.

Owen, in retrospect, was probably Buffy's most normal love interest. Many of the guys she became involved with had far too many issues and their relationships were bogged down in drama that kept them from being successful. Of course, Owen was only in one episode, hardly enough to be seriously complicated.

The actor was miscast as a brooding guy who read poetry (Angel has that market cornered). The role would've been better if the character was written more as a nice, sensitive, albeit a little thickheaded, guy. Cordelia's attraction to Owen is weird, but maybe this is hinting at some depth to her that we don't know yet. Her little swooning over Angel and his ignoring her is consistent with that. And did they get away with a bodily fluid joke (that fluid) on network TV?

Xander's behavior and Buffy's reaction to it is certainly reminiscent of my high school years. The crush that you can't act on directly that the other person is oblivious to is a rite of passage for every teenager. It's not clear whether Buffy is aware of Xander's feelings and dismissing them because she thinks he isn't serious or not. I personally can't explain this, and this segment, while it may be frustrating, rings true.

Willow certainly must be taking Xander's affections poorly. In her case, she too, is feeling ignored by the one she has feelings for. However, she is much less obvious in her tactics (perhaps that's just the fact that teenage guys (OK, all guys) can be real lunkheads when it comes to romance.

It's an interesting contrast to have Giles resenting having to do his librarian work while Buffy grows restless over full time slaying. For their operation to be successful, their covers need to work. Buffy's identity as the Slayer needs to be kept low profile, and Giles shouldn't arouse suspicion as her Watcher either. This would be a good argument for her to socialize with other kids and create the illusion of a normal teenage life. However, the scene in The Bronze with Angel and Xander & Willow trying to keep their story straight from the unassuming Owen illustrates how hard and messy that will be for Buffy. It also has a nice bit of foreshadowing that could easily be overlooked.

This episode is an improvement over "Teacher's Pet", largely because of the lack of obvious plot holes and shoddy writing. It also deals with the slayer's role in her personal life, a topic that would be central to the show until the end. That's something a she-mantis can't claim!

Score: 7/10

Sunday, July 09, 2006

Buffy the Vampire Slayer: Season 1, Episode 4: Teacher's Pet Review

Teacher's Pet
Original Airdate: March 24, 1997
Writer: David Greenwalt
Director: Bruce Seth Green

In my Witch review, I mentioned that part of the problem for that particular episode was that it was written by someone who wasn't aware of the characters and situations like those who would be the all-stars among the writers. I can't use that excuse this time, as David Greenwalt is one of them, eventually running Angel for its first three years. Luckily he redeemed himself with writing and directing far superior episodes, but this is a really bad first impression.

While the She-mantis (which sounds unintentionally funny) plot line should've been scrapped, it is an important step in Xander's storyline. Through the years, he seems to be a magnet for demonic or otherwise bad news women and this is the first. Although his crush on Buffy is still there despite it being dismissed, he still can't stop fantasizing about being the big man and saving her (boy, did Buffy look hot in that fantasy).

If Buffy is supposed to be an icon of feminist empowerment (which she certainly is among other things), Xander represents the male who feels somewhat short changed by the gender role reversal. He wants to be the hero and save Buffy like he might have if the role was different, but she is strong enough to do that herself. Revealing that he's still a virgin is a bit emasculating as well. Although Xander's not a chauvinist, the embarrassment is still there.

This episode is the first time we hear of Willow's feelings toward Xander. It makes sense that there would be some attraction between them as they have been friends for so long. Of course, being a teenager complicate this and now they have to figure out whether they love each other as friends or more.

It makes sense that Xander is instantly jealous of Angel, who until then they only heard of through Buffy. Buffy and Angel have softened up a bit, especially now as Buffy realizes that Angel is trying to help her, warning about the Claw Vamp and giving her his jacket in the process. He's still very mysterious, but now we can say he's on the good side.

With Xander's thing for Buffy went unsatisfied, it would make some sense that he would try to go after another woman. Time for me to be a pig male: while Ms. French was pretty, she was hardly gorgeous enough to have every guy falling over each other to spend time with her. Perhaps this is their attempt to tackle the teachers sleeping with their students issue, but it just comes off as sloppy. And what was with that accent? Sometimes she sounded European, other times Australian. Couldn't they just go for, I don't know, a French accent and call her something else?

I kinda wish we saw more of Dr. Gregory before his demise. It would've been interesting to see more from the teaching staff to believe in Buffy. However, Buffy is meant to be an outcast, so what good would it be to have the staff believing in her? On that note, why does no one collect his glasses and use it as evidence?

At least they returned to Cordelia having a rocky relationship with the gang. However, she isn't given much this week besides another speech to show how shallow she is. It is interesting to see this know how far she'll come later.

Claw Vamp's sidelining for the episode is a travesty. With Luke out of the picture, he could've been a formidable thug for The Master or opponent, considering he cut off Claw Vamp's normal hand. It even left a mark on Angel. Yet, Buffy's fights seem par for vamp fights on this show. When she gets him to track Ms. French, she manages to tie him up rather easily and his death follows (on that note, why aren't the vamps turning to dust?) This is a really wasted opportunity.

Instead, the focus is on Ms. French, who apparently is scary enough to spook Claw Vamp. Unfortunately, the low budget (and the ultimate idea for the monster) renders the monster into something out of a B-movie from the 50s. All that's missing are Cold War metaphors (and maybe the robots from Mystery Science Theater 3000 providing commentary). Like Claw Vamp, Buffy doesn't have a lot of trouble killing her either. So what was everyone so afraid of?

Here are just some obvious instances of sloppy writing in this episode. For someone with a major secret, why is Ms. French spinning her head around Exorcist-style in front of an entire classroom? Yeah they were taking a test, but that would catch the eye. Also, if you're going to abduct virgin guys and not have anyone know, why have their last known whereabouts be with you? Also as a one nitpicker pointed out, how is hunting down Claw Vamp and getting him to help quicker than knocking on doors to find it? While the ending is a standard "The end…or is it?" coda, they thankfully never refer to Ms. French's eggs ever again.

This is definitely one of the weakest installments of Buffy, and a good example of the weaknesses of the early episodes. Thankfully, David Greenwalt had the opportunity to redeem himself, since he clearly had better ideas than this one.

Score: 3/10

Saturday, July 08, 2006

Buffy the Vampire Slayer: Season 1, Episode 3: Witch Review

Witch
Original Airdate: March 17, 1997
Writer: Dana Reston
Director: Stephen Cragg

As the show shifts beyond the introductory phase, there had to be more to face Buffy than just vampires, as that would've gotten stale quick. So this episode would be a good time to show that there's more than bloodsuckers to contend with on the Hellmouth. It's fitting to have the first episode not about vampires (or to feature any vampires) be about witchcraft, because that has a growing role in the show, especially from season two forward.

It certainly reveals a lot about Giles. Judging by his ease in performing the spell to reverse the "Freaky Friday" curse, especially as he dunks his hands in boiling water, he has some history with magic and witchcraft. He also seems a little too thrilled to know that there are other problems besides vampires facing them. There is a lot more to this supposedly proper Englishman than we initially thought.

Buffy, as is common with teenagers, is trying to live a normal life, but she has to deal with her chosen status. Becoming a cheerleader is a good example of what she would do to get that. However, as is always the case, she can't escape who she is, so there is evil activity amongst the cheerleaders, like fate intervened and used her desire to be normal to send her directly to the threat.

Some parents live vicariously through the achievements of their children. From disturbing stage and beauty pageant moms to parents who get so wrapped up in their kids' sports games that they beat each other up over little infractions. This episode is a literal example of this, as Catherine lives in her daughter's body while Amy is trapped in her mother's body at their home (wonder if there is a father anywhere or what they do for money?) It's like "Freaky Friday", only disturbing.

Amy (or Catherine) is clearly emotionally abused. It wouldn't be hard to believe Amy has an eating disorder considering how militant Catherine is over her body size and even the smallest fluctuation. In addition, her mother must constantly berate her about how she'll never come close to what she accomplished. This need to be perfect is very unsettling.

This episode focuses on parental pressure with parallels between Buffy & Joyce and Amy & Catherine. Obviously there are major problems between the witches. On the other hand, Joyce is faring better, although work and the friction over the trouble Buffy's gotten into distract her. She accepts that she won't be able to understand Buffy because she is a teenager. With Catherine, she'd rather lock her daughter away and live life as a teenager again.

Some elements of this episode got on my nerves. For example, they need more cheers, and the ones they have are lame. "Go Sunnydale Go!" repeated constantly during the re-reversal scene? Even a "2, 4, 6, 8" variation would've been an improvement. I know, they're cheers, it's not supposed to be Mozart, but they couldn't think of a couple catchy rhyming lines?

Second would be the obvious way the gang tried to out Amy as the witch. It is especially bad when Buffy gets a sample of Amy's hair. The only way Buffy could've been more obvious is if she yanked out Amy's hair. Couldn't she have done something distracting like bump into her or ask her to look elsewhere while she, Willow or Xander swiped some? Luckily, that girl's mouth disappeared or else Buffy probably wouldn't have gotten away with spilling the sample on Amy.

Buffy's behavior is rather inconsistent (was Catherine too upset to focus on that spell?) after she is bewitched. She goes from being annoyingly perky to intoxicated, but occasionally emerges from this stupor to help reveal the truth. The other curses are consistent (although Cordelia's eyes don't go white until after Buffy saves her from the truck), but it isn't clear what exactly Catherine did to Buffy's state of mind.

On the line of inconsistencies, Cordelia seems a lot chummier now than last episode, where she was rather nasty to the gang. This is likely caused by the writer not knowing the characters (which, to be fair can be a little pompous to say a few years after both Buffy and Angel went off the air). I guess her reversal of behavior, if it is explainable, is out of her gratitude, albeit reluctant, of having Buffy saving her from Luke.

For someone who has spent a year or so slaying, she is rather naïve as far as love is concerned, or at least Xander's affections. The "Yours Always" bracelet should be pretty telling to anyone about Xander's feelings. Unfortunately, Buffy sees him as a friend, and dismisses his advances as just being friendly. Of course, telling a guy he's "one of the girls" is going to crush him. This episode could've been a good place to put in Angel with the tension between them, but he is absent, much to the ladies' (and gay men's) dismay.

Many the flaws in this episode could be explained because of the novelty of the show and that the writer just wasn't as familiar with the characters or premise as the more established writers would become in the future. Dana Reston wouldn't write anymore episodes, but I doubt that is because of the episode's mediocre effort. It is early in the series, and mistakes like this can happen. It is not a bad episode, just forgetable.

Score: 5/10

Thursday, July 06, 2006

Buffy the Vampire Slayer: Season 1, Episode 2: The Harvest Review

The Harvest
Original Airdate: March 10, 1997
Writer: Joss Whedon
Director: John T. Kretchner

After the first half of the pilot set up the central characters, this one establishes what would be the "Buffy formula"; the gang is threatened, they research the problem and then act on what they find. It's fairly consistent with the first part of the pilot, which means that it is flawed, but still contains a lot of potential for the future. It continues establishing the arcs for the core characters, which would be explored for the next six years.

There is a lot of exposition in this episode, but it is necessary to set up the ground rules for vampires now so they can't be accused of making up the rules as they go along. Sure they do take liberties, as the time it takes vamps to dust varies and whether the stake disappears after it is used, but they are deliberately vague with a lot of the technical aspects, which doesn't make it contradict canon. The actual location of the heart also varies, but that is more likely a technical goof.

They also make some nice connections to future episodes. As Jesse is enjoying his newfound power as a vampire, he mentions how connected he feels. This concept is interesting to see knowing how that is applied in the final season. Although this hint is minor, having it occur so early shows some good planning. Also, Jesse is a geek as a human, but becoming a vampire gives him charisma. This transformation occurs elsewhere and helps establish that the vampire and the human aren't the same.

While there are many pieces of the mythology laid out for us, some of it contradicts what is constantly repeated for the rest of the series. When Luke becomes The Master's vessel, The Master says that his soul is Luke's soul. Also, in the beginning Giles refers to the first vampire as a human whose soul was infected by the demon's soul. The problem with these examples is that vampires are established as not having souls.

Considering how Jesse was Willow and Xander's friend, it is weird how they never mention him again. Perhaps this is the result of the pilot episode and experiments Mutant Enemy conducted on the show early in the run. Maybe it would've been better to have Jesse become one of The Master's thugs and have that personal element throughout the season.

Cordelia isn't winning any sympathy points, but this episode introduces another prominent element in her character, her best friend Harmony. It makes sense to define her friends more than just interchangeable, narcissistic "mean girls" if they are meant to be the most popular girls in school. Looking back, Mercedes McNab (Harmony) looks so much younger than most of the cast (of course, that's because she was the only member of the cast who was high school age at the time!)

Although Willow's time with Buffy has been brief (and it inadvertently lead her to be taken captive by a vampire), it has rubbed off on her. After her experience she now has the ability to stick up for Buffy when Cordelia calls her a freak, and then tricks her into deleting all her work in the computer class (I got a kick out of that moment). This is the beginning of a more confident Willow, especially as she uses her brain to help them discover more about the various demons they'll face.

Angel's motivations are still shrouded in mystery. Though he warned Buffy about The Harvest and gave her the cross that saved her from Luke, he still doesn't do anything to stop The Harvest directly. There is some friction between him and Buffy, which seems to point to Xander being out of luck for a romantic relationship.

We don't get any overt slips of Xander's crush in this episode, although they could've done something after he pulled Buffy out of the manhole and she fell on top of him. Nonetheless, that element is hardly forgotten beyond the pilot. Xander willing to go down to the vamp lair with Buffy could be considering a sign that he likes her enough to risk his life, but there were other factors in play.

Early in the series, they touch upon a major aspect of Xander's character, which is what is his function in the group. Buffy's the slayer and Willow and Giles serve as the brains behind the operation. However, despite knowing Buffy's secret, they don't want to get Xander involved because it is very dangerous. Because he needs to prove himself, he heads to the lair with Buffy. When faced with having to destroy the vampire that took over his friend's body, he doesn't do it. Instead, the staking occurs accidentally.

Had the vampires we see in the average episode of Buffy been the ones chasing her through the tunnels, she wouldn't have gotten to the surface by a long shot. For some reason, they felt it more appropriate to have the vamps act like zombies, in that they move slowly toward our heroes. Them breaking through the door is similar to nearly every other break in shown in a zombie movie.

It seems rather ironic for Joyce to be trying to be a better parent, considering she's one of the best parents on Whedon's shows. Daddy and/or mommy issues abound with many characters of Whedon's shows, including Buffy with her absentee dad. Joyce is a rare exception. Her only flaw is that she isn't aware of what her daughter has to do.

This scene once again shows the problem parents and children have understanding each other, with the humorous slant Joyce clearly doesn't know about. It doesn't seem likely Buffy will be able to keep her slayer identity secret from her mother for much longer, with them at the center of a demonic hot spot and Buffy's obligation to avert the crisis du jour.

The Master is a classic monster villain, as shown in the ruthless "You've got something in your eye" scene. He runs scarily close to become a "I vant to suck your blood blah!" vampire villain (whether he crossed the line is up to speculation). His added presence in this episode is important for the season's story. Keeping him trapped among the church ruins helps, as illustrated in Whedon's commentary, avoid the pratfall of The Master trying to kill Buffy face to face each week and failing.

Some parts seem a bit too contrived. For a vampire who is at least 150 years old, Luke hasn't figured out when sunrise occurs. Even the sired Jesse could figure that out. Does feeding on humans as the vessel take that much out of him that he loses track of time? Maybe if there were a smaller window than 9 hours, it would be easier to believe.

There are corny parts, like The Master screaming "No!" when his plan fails, the music played as Luke feeds The Master's power or that stock screaming used when Darla is doused in holy water. Overall, this is consistent with problems of the first season. Early in the show, they were tinkering with what would eventually be the conventions and messages of the show. They hadn't yet balanced the comedic and horror elements yet.

Many things on this show can be over thought, which would diminish the enjoyment. The biggest would be the lack of investigation into these crazy events, which would explain why Xander and Willow are clueless about the monsters that reside in their hometown. The reason they aren't thought about more is because they are routinely dismissed by those who saw them because what they saw defies any logical explanation.

The story works well as a self-contained feature pilot. The Master's plan is averted and things are back to normal. Nobody is questioning it because, what could they explain? Of course, there was plenty of room to continue, as The Master wouldn't allow his plans to be dashed at the first failure. Also, there would be plenty of demonic activity to keep Buffy and the gang busy for a long time.

Score: 7/10

Tuesday, July 04, 2006

Buffy the Vampire Slayer: Season 1, Episode 1: Welcome to the Hellmouth Review (Happy 4th!)

Happy 4th of July!
Hopefully you're having fun. As a special treat, I'm introducing a new series to the queue of reviews, Buffy the Vampire Slayer. Here's the first review.

Welcome to the Hellmouth

Original Airdate: March 10, 1997
Writer: Joss Whedon
Director: Charles Martin Smith

Of the many shows to be based off movies, this is one of, if not the only, instance where the TV show manages to outshine its source material. However, the film was critically panned and forgotten in many minds by the time the series premiered. The fact that this got on the air is more a testament to Joss Whedon's loyalty to his work than any market demand. He has never been one to let a project he loves die. A few years ago he fought to get a film adaptation of his short lived series Firefly made, a campaign that proved successful with the release of Serenity. Almost ten years earlier he showed the same dedication to "Buffy". While I've never seen the film, I've heard much about how it didn't mesh with what Joss envisioned and that it was a commercial and critical disaster. Nonetheless, he worked to get the idea resurrected in some form. Luckily for him, this coincided with the rise of a new network, one who was willing to take a risk on Whedon's idea.

Joss wisely decides against rehashing the movie in this pilot. Instead, he uses the movie as a prologue. This makes this episode's slant more interesting. "Buffy" frequently uses supernatural elements as analogies for growing up. Buffy wanting to leave her slayer identity behind is very similar to how people hope for that fresh start when they relocate. However, the true second chance is rare, and when you're destined to be the one person to protect the world from evil, you can't escape that.

Buffy is not much different than the average teenager. She wants to live a normal life and is struggling with her identity. This is essentially her problem throughout the series. While Giles hopes to teach and train her about hunting and killing demons, even he doesn't know some of the facts about slayerdom that we discover later in the series. This could apply to any teenager trying to figure out who they are, and even the parents and guides unable to help fully because they too don't know.

One of the major things that inspired Whedon to create "Buffy" is the old archetype of the blonde in a horror film. Usually the life span of that teenage girl is around four to five minutes (if they're that lucky). Not only is Buffy defying that cliché, but Darla does as well in the prologue. We've seen the scared girl go with the bad boy to some make out place only to be killed countless times before, which makes the twist that Darla is the evil one a refreshing change. So the blonde could be both a menace and a hero.

It is no surprise that Xander has an instant crush on Buffy. That outfit would make a lot of guys get into accidents. Thankfully, they scrapped the skateboard part of his character because it doesn't feel right for him. If they tried it as him trying something new to appear cool, then it would've made some sense.

Jesse feels like a clone of Xander, only a bit more awkward and pathetic. He keeps coming on to Cordelia, who keeps on rejecting him. He has that teenage thing refuses to listen to reason, which could definitely be set off by someone as hot as Cordelia. At one point, he suggests he nibble on his shoulder, perhaps a little foreshadowing for later in the episode.

Cordelia is what Buffy was before she was called upon for slayer duty. She's beautiful, vain and a little too much in love with herself. It does make sense that Buffy would initially draw to her, but while Cordelia teases Willow for her poor fashion sense, Buffy sees that isn't who she is anymore. Since the show is about outcasts, it makes sense to have a character represent what is alienating the heroes. However, there are hints of a change in Cordelia's character, which fits her arc.

Along with Cordelia, Willow has experienced the most dramatic transformation in her character arc. While they didn't want a supermodel in glasses playing the nerdy best friend, Alyson Hannigan is another beautiful woman in the cast. However, they don't overcompensate with the geekiness. It's more in Hannigan's performance; she is very effective at playing this type of very self conscious, shy character.

Giles rounds out the core group of four. As an Englishman, he could've been written as a stuffy stereotype or some absurd Monty Python wannabe. However, he's a lot more complex than that. Yes, he's knowledgeable, but he lacks social skills and awareness, like slamming the Vampyr book on an unassuming Buffy or going to the Bronze still wearing a suit and tie. There is also the male teacher/nubile teenage girl dynamic, which could be taken the wrong way. Luckily, they settled this to make Giles a father figure, but it isn't fully functional in this pilot.

Angel, in his brief appearance, is a bit ambiguous. The clothes definitely set the stage for his brooding character. He could be spouting his own poetry at a coffeehouse's open mic night. For some reason, explained later, he has some interest in helping Buffy take care of the vampires, alluding to The Harvest, presumably a mass murder of humans by vampires.

While those unfamiliar with the movie may be confused with some of the blanks left unfilled, there is a decent amount of background information given. Vampire mythology can vary, so it's important for Whedon to establish what his vampires do, how they kill, are killed, feed and are born. Although there isn't anything significantly different, such ground rules help the pilot.

Also nicely covered is the history of demons and humans on earth. The Master is trapped below earth by some force field. Presumably, other demons are trapped in similar situations and The Harvest will free The Master and maybe "The Old Ones" Luke refers to. The concept of "The Old Ones" lasts through Angel's final season. Now that's some good foreshadowing!

Although most of the subsequent big bads would be some type of demon or evil being, it makes sense to have the big bad early on be a vampire because of the title of the series. The Master's appearance draws some comparisons to Murnau's Nosferatu. Early on, they wanted to have vampires appear more demonic as they aged. Considering every other vampire looks the same when they vamp out, this concept was one that was quickly scrapped (with one exception early in season three). The Master serves as a type of transitional device, to lure in fans of old vampire stories while the leather jacket could be an update of the look.

Considering that WB was going for a young demographic, there are a lot of things meant to appeal to younger viewers. For example, The Bronze would be the setting for numerous musical acts in the future. It feels a bit forced in this episode, but as the series progressed, they had better success integrating it. The difference between old school and new school horror is established in the opening title sequence. The organ intro drowned by a shredding guitar, while symbolically saying that Buffy isn't going to be the blonde in peril in need of rescue, also says that this is going to be different than standard vampire/slasher stories.

Obviously, with that eye-catching title (that unfortunately turned off some people from watching it, including me initially), this wasn't going to be a show to take itself too seriously. It was also a merging of several genres. In that title, we have sci-fi/fantasy, action, comedy and drama. Merging genres also helped a show with a less humorous title, The X-Files, who along with Buffy became touchstones for the new generation of sci-fi fantasy.

Having Sunnydale positioned right over a Hellmouth is a decent narrative device, even if it is an easy way out of explaining demonic activity. I'm sure everyone has felt that high school is hell at some point (and if you haven't you're a liar). For an analogy, it works perfectly. Although how did they manage to have the Summers move right in the Hellmouth's backyard is anyone's guess.

Joyce's role, as unaware parent, isn't played as a typical dumb adult in many teen oriented shows. While that may be relatable to young people, Joss does a different angle and it still works. Buffy can't tell her mom her secret, so that works with the "parents don't understand" theme every teenager has felt at some point.

One thing worth noting is how far the "dusting" technology came during the seven years from this episode to Angel's finale. In the early episodes like this one, a staked vamp explodes into dust. Over Buffy and Angel's run the disintegration became much more sophisticated. While it may not be the best for continuity, it's interesting to see in perspective.

Also, the film quality is significantly lower than around season three forward. According to Whedon's commentary, they filmed on 16-millimeter stock, which is cheaper than 35 mm (I'll try not to bog this review down with a lot of techno babble). However, this does leave the picture a bit grainy. The lighting in this episode is much darker than later seasons (that could just be the film stock), which makes some of the scenes a bit hard to see.

The dialogue is also very different, but it needs some fine tuning. The pop culture references didn't always blend in with the rest of the lines, but that becomes much easier as the writers discover what they want this show to be. Although it wasn't Whedon's true intention, I enjoyed seeing Aphrodesia and Aura's superficial conversation filled with buzzwords and slang abruptly stop when the guy fell out of the locker.

While hardly amongst the Buffy classics, this is an effective opener. Our first taste of Whedon created TV shows potential, but it will take some time before they get to where Buffy is considered a classic.

Score: 7/10

Sunday, July 02, 2006

Lost: Season 2, Episodes 23-24: Live Together, Die Alone

Hello readers (hopefully there's someone this can apply to),
I've been really busy pounding away on this Lost finale review (7+ pages!), so get comfy before reading it. Unfortunately I forgot to post my review for the Lost episode "?", that review is on my archive site, which can be read here. This is the last S2 review, I can't say if I'll finish S1's reviews by the time S3 starts, but I'll probably get a few in. Now without further ado.

Live Together, Die Alone
Original Airdate: May 24, 2006
Writers: Damon Lindelof & Carlton Cuse
Director: Jack Bender

This season has gotten a lot of flack from viewers, some of whom are finding it hard to adjust to the show as the honeymoon phase of the show is over. Lost is a show of mystery and that works when the show is new and we're learning things for the first time. As the show progressed, some felt that the show was teasing us with answers that the creators didn't know, even though they can't really expect major answers this early in the series. It left episodes this season deemed by some as "nothing happened" episodes, when they were more often just broadening our concept of what we had already known. This episode couldn't possibly be called a "nothing happened" episode unless the critic is bashing the show for fun now, the type who trashes it all for the sake of consistency. Granted there are a ton more unanswered questions thrown onto the pile, whose size rivals those Pearl notebooks the hunting party found, but there are some answers. Lost has a difficult task in balancing the mystery with the payoff, and this episode pulls it off extremely well, leaving us more than satisfied, but frustrated as hell once those end credits roll. It seems to have appeased many of the harsher critics, as nearly all the responses I've heard from this episode are positive.

This season started with that explosive first look into the hatch, so for the narrative, this season had to end there too. It makes Desmond (the first "centric" episode of a character not on Flight 815) a prime candidate for the flashback treatment. Despite the fact that they have been there for two and a half weeks, the castaways know very little about the hatch. It makes sense to bring Desmond back so we can see what it was like living in that hatch for three years.

Desmond clearly knew where he was going when he bolted in "Orientation", but where was obviously up for speculation. Some assumed he went to another hatch, as that might've been part of the protocol in case of a system failure (although why he didn't just use the failsafe then appears more as a plot device than what he would've done.) It turns out that his destination was a boat, the same one that got him here. Only problem is that it got him no where.

While the electromagnetism is the likely culprit, Desmond alludes that they are trapped in a snow globe, a reference to "St. Elsewhere", where (SPOILER) all the events of the show took place inside an autistic kid's mind, one who played with a snow globe. The variation of that has been a popular theory, so much that Lost devoted a whole episode to debunk it in "Dave". (END ST. ELSEWHERE SPOILER) Unbeknownst to everyone else on the island, the world still exists. What that means for the future is unknown.

This episode confirms that the hatch is meant to contain a potent electromagnetic energy that emanates from the island. This energy must've somehow remained dormant until Dharma got there, because the world wasn't sucked into this island before then. Considering there is a fail-safe, meant to destroy the electromagnetic energy ultimately, that would mean that having someone there continually push the button served some practical purpose. It's never said where this energy goes after it is dispersed; perhaps it is harnessed and used for Dharma's benefit.

A lot of nitpicking has come out of the revelation that the plane crashed because Desmond had forgotten to push the button in time. Some say that there isn't enough magnetic material in a plane that would cause it to crash. Others pointed out that it didn't feel right that the magnet managed to bring the plane down, yet keep the hatch (along with the others) in tact besides some things that were knocked down. It does diminish the impact of the twist, but it does work in the narrative as it gives Desmond reason to turn against Locke’s plan.

One nit pick I'm surprised no one ever mentioned before is it seems awfully dangerous for a hatch built on top of a magnetic hot spot to have so many metallic objects. As the forks and things started flying toward Charlie and Eko, I thought it was practically guaranteed that one of them would get a fork stuck in them somewhere.

Since it turns out that the notebooks end up in the middle of an open field, what purpose does Dharma have with the volunteers filling them out? When they looked around The Pearl hatch, there was a camera seen. Perhaps that camera is documenting what they're doing and the feed goes into another hatch where the main Dharma scientists could watch.

As the events in the hatch prove to be center to the entire episode, it is fitting to use this time to tell us Desmond's history there, giving us a revealing look at some of the things we've wondered about this season. It was unexpected that Desmond has only been alone in the hatch since the castaways crashed on the island, as his mental state when Jack, Locke and Kate entered was unstable. However, the loneliness, the guilt over killing Kelvin, the frustration of being trapped in that hatch for the rest of his life and the fact that he couldn't sleep for more than 108 minutes straight broke him down.

But before we do that, let's backtrack to his life before the incident. With Kelvin, there is a potential storyline there. Cuse and Lindelof confirmed that Joe Inman, the CIA Agent who introduced Sayid to torture in "One of Them", is Kelvin, and not Kelvin's twin brother. So since they are the same person, how did Kelvin go from working for the government to working on the island for Dharma? His story appears similar to Desmond's, who also served his country, but fell out due to disgraces. However, how are they going to tell this story? With Clancy Brown, it would be a waste to have him only pop up in two episodes, so hopefully we'll see him next season.

He says that he joined Dharma after he was discharged from the service. Those following "The Lost Experience", the multimedia game designed to give us deeper insight into Hanso, know that Dharma was supposedly dissolved in 1987. With Kelvin in the Gulf in 1991, it doesn't add up. Did Dharma go underground, making up a bogus story that they have shut down the initiative so they could do morally questionable experiments off the radar?

There's also Radzinsky, Kelvin's former partner who killed himself. It's possible that there is a lot more to this guy than Kelvin's recollection. Kate reads in one of the notebooks that a person at the station is named "S.R." Could Radzinsky be that person? Some suspect that he never actually died. Radzinsky had a big influence on Kelvin, so it may be worth exploring in the future.

Considering Kelvin's history manipulating people (getting Sayid to torture his commanding officer despite the fact that he knew English himself), it isn't hard to believe that he was ultimately out to leave Desmond behind on the island. If we're to believe that Kelvin really had no clue that not pushing the button meant an electromagnetic disaster, it fits very well with the current storyline. Because Desmond was out chasing after Kelvin, he was unable to push the button in time, causing an incident.

It is this memory followed by the memory of Locke banging his fists against the lock door that convinces Desmond that it is all very real. Both men were at rock bottom, Desmond was so overwhelmed by loneliness and hopelessness that he was ready to read "Our Mutual Friend", the last thing he wanted to read and kill himself (it probably would've been a long time before that could happen. I haven't read the book, but I've seen that it is huge!) Locke was devastated that somehow the island, the thing that brought his life purpose, felt it necessary to take the life of a young man. The light Desmond shone, while Locke took it as some sign (which he later dismissed) was misread. Out of their moments of weakness, they connected, and it saved both of them.

This episode is the next logical step in the tragedy of John Locke. He has been conned his whole life by almost everyone he's ever known. As the season progressed, he felt that the evidence overwhelmingly pointed to the island conning him as well. It is made worse with the guilt he feels for getting Boone involved, an event that lead to his demise. For the first time in his life he decided that he wasn't going to be the victim of another con. Unfortunately, the one time he exerts himself is the same time he is dead wrong.

Desmond’s arrival is at a key point in Locke’s arc. Although he is without faith, the button is still a major piece on his mind, and the fact that Eko has picked up Locke’s faith and run with it to the other extreme hasn’t rubbed him right. While Eko and Locke duke it out in a battle of philosophies, Desmond appears more as a reference point, someone to show us how far Locke has gone.

While Locke is now on the extreme side of reason, Eko is on the other, as a fanatical believer in faith. This adds to his epiphany in "23rd Psalm". Some figured he should've been killed after realizing his purpose, but the last few weeks have shown us that Eko's beliefs can be very dangerous. Attempting to blow up the blast door with two sticks of dynamite (a bit of a foolish endeavor), almost got him and Charlie engulfed in that fireball. The conflict between logic and reason is a crucial piece of Lost's story, and this episode detailed this pivotal step rather well.

As things culminate in the hatch, the confrontation with The Others is another big step, albeit a one with more nuance. The Others’ story is far from over, and it would be a bit rushed to jump that far at this point. It was inevitable that the rest of the hunting party would learn of Michael’s deception and Jack’s knowledge of it. It’s definitely understandable that they would want some justice for Ana-Lucia and Libby, but unfortunately, Jack was right in making them continue. It's unlikely that when they get out of this (not likely that they'd be killed) that the Kate and Sawyer will forget it.

Jack's plan was the best they could do. If the rest of them knew, it would likely cause problems getting them to go in the first place. The Others knew they were coming, and if the hunting party stayed, it could've been even worse than what happened. Although Jack and Sayid's plan was for Sayid to scout the island, find The Other's camp, and join the hunting party for a counterattack, it wouldn't be hard to believe that a military man like Sayid wouldn't think of a contingency plan. In the epilogue, one of the Portuguese guys says that his losing round is "all part of the plan". Perhaps they planned if they couldn't reunite, that they would get captured, allowing them access to all kinds of Other answers they need to combat them.

Sayid's trip to The Other's camp amplifies this illusion The Others have, including a fake hatch (dubbed "The Door" by fans) and huts, all of which we saw in "Three Minutes". Now why is this hatch there if it leads to nowhere? Could this be one of the unlabeled hatches on the blast door map (or the one that was crossed out?) Why would Dharma build a hatch that was just a front? Is this part of a psychological experiment? Or was there something there before, and the rocks merely show that it has been entirely sealed off?

Henry appears to be a high-ranking member of The Others, if not, "Him" himself. What is so great about Michael Emerson's portrayal of Henry is that he can play meek victim or menacing aggressor easily, which makes this possibility believable. It makes sense considering they were so interested in getting Henry back. If he isn't "Him", his capture wasn't a failure, but all a part of the master plan. If this master plan involved not having the button pushed is unknown, because we don't know if that would benefit The Others. All we saw was a burst of ultra violet light and a deafening sound. Some thought the expression on Henry's face was anger, perhaps that could be a clue.

It makes sense that they would let Hurley go to tell the Fuselagers what happened. Hurley has always been likable, both for characters and fans, so he would be an effective messenger. He was the only member of the hunting party who didn't bring a gun and we never saw him getting hit by the nerve tranquilizer.

What The Others want with Jack, Kate and Sawyer is a big question mark. Killing them would leave a rather potent message for the Fuselagers, but why lug them to the pier? Do they hope to convert them to their side? Is there some experiment suited for them? Or is Henry ready for a little payback? The love triangle isn't a likely reason, but should provide an interesting dynamic for season three.

Henry claims once again that "[they]'re the good guys" to Michael, but it is still unclear what that exactly means. Again, this is a situation where we will have to wait until we see things from their point of view and learn what their motivations are. Up to now we've only seen how the castaways view them, with a justifiable sense of fear and anger.

While The Others didn't stab Michael in the back by blowing up the boat or anything, they could easily send them to another place where other people will be waiting to re abduct them. Perhaps they made good on their promise, and Michael is on his way to rescue. How that plays out would be interesting. Michael would want to keep a low profile, but it wouldn't seem likely as Flight 815 would be a major news story, and someone would put the pieces together that Michael was on that flight, and I don't think Michael could pass the "My son and I were the only survivors" bit. It might be interesting if he attempted to rescue the other castaways in an act of redemption.

Anyway it's cut, Michael's status in the tribe is ruined. While Ana-Lucia suffered as an outcast, Shannon's death was clearly an accident. It would be near impossible for Michael to reintegrate himself with the knowledge of what he did. There are killers amongst them, but none have deliberately killed another castaway. Michael could be posed to have some type of redeeming arc for him where he may help Penelope, turning himself in once the castaways have been rescued or dying heroically in the process.

If this is the last we’ll see of Walt and Michael, it is a bit anticlimactic. Obviously the writers can’t stop Malcolm David Kelly from going through puberty and that hinders his role on the show since only two months have passed on the island. When he was abducted, I had originally assumed that they would write in his rapid growth as a result of something The Others did to him. It appears that isn’t going to happen. Perhaps Walt’s special abilities were nothing more than a MacGuffin. However, they could still tell elements of Walt’s story without the actor, as it has been the case all season long. Henry says that Walt was more than The Others could handle. We don’t need to see them to learn what he meant by that.

Sometimes Lost appears to be messing with us. Case in point, the four-toed statue on the other side of the island Sayid spots. I automatically thought of The Simpsons. However, after some time, it's clear that the writers are showing us that there is a lot more history to this island than some scientists who came here in the 70s and 80s. The history goes way back. Perhaps thousands of years, since some have compared the statue's foot to The Colossus of Rhodes, one of the ancient wonders that crumbled. Perhaps The Others could be descendants of ancient people who lived on the island, who rebelled against Dharma and convinced some to join their ranks.

Widmore, the mysterious company that worked on the Battlesea Power Station in "Fire + Water" and manufactured Sun's pregnancy test, is hoisted into the spotlight. It turns out that Desmond fell in love with Penelope, Charles Widmore's daughter. They don't explain why he doesn't approve of this relationship, but it could be a matter of class, like Jin & Sun, or what Desmond did to get him in prison.

Another literary work is prominently shown, Dickens' "Our Mutual Friend", the last book Desmond intends to read (based on an assertion John Irving made). Dickens is a good choice to reference because he, like Lost's writers, released his stories in installments rather than one big piece. This lead to criticism that he was making it up as he went along. Now stop me if that sounds familiar among critics of Lost this season!

Through the episode's flashbacks Penelope and Widmore talk to Desmond's inability to confront his problems. While the race around the world is a grand romantic gesture, it would probably be braver of him to face Widmore and settle it. Perhaps his willingness to "blow up the damn" is ultimately his redemption and an argument for his not surviving the discharge.

Although the story was dropped upon us in this episode, I completely bought into the Desmond/Penelope love story. Penelope’s name could reference The Odyssey. Homer's Penelope fought off 108 suitors while Odysseus was away. That type of loyalty and love appears to be the same with Desmond’s Penelope. Before his run, Penelope mentions that a person could find anyone with enough means to do so. Considering what the listening station must cost, it must be a sizable means (although couldn't she spring for a heated station?)

Unfortunately for Libby, she was just a few hours away from seeing her old sailboat again. It is interesting how Libby was indirectly responsible for getting Desmond on the island. If she was a recruiter as many have theorized, the idea that they've sent people to the island before our castaways wouldn't be too far fetched and it would add depth to the whole Dharma story. Perhaps she was hired by Widmore to get him out of the way. Since Libby is dead and can't have a "centric" episode of her own, the writers have decided to tell her story via the flashbacks of other characters. This is an intriguing experiment and this role is the first step.

There are plenty of things worth noting in Libby's scene (except that awful wig). Libby, or at least her husband, had money, enough to own a boat. What is curious is that her husband's name is David. Could this be "Dave", Hurley's imaginary friend? It's not quite clear when "Dave's" flashbacks are placed chronologically, but it could still work. The initial conclusion there is that Libby is somewhat obsessed with Hurley, and took "Dave" as her husband because he meant something to Hurley. On the other hand, maybe Hurley's imaginary friend has some real-life basis. A side note, why is it that whenever anyone dies from disease, they never mention what sickness caused it? David is the latest example, assuming he's a real person.

As the episode ends, our castaways are further split up than they were in "Exodus II". Eko, Locke and Desmond are in the hatch, and all three's fates are up for debate all summer long; Sayid, Jin and Sun are on the boat scouting; The Others have Jack, Kate and Sawyer; Michael and Walt are on that boat; poor Hurley is alone in the jungle navigating his way back to the Fuselage camp; and the rest are sitting on the beach wondering what the bright light was. Season three could start just like its predecessor, but hopefully we won't have to wait until a third of the way in before everyone gets together.

For the people in the hatch, Locke seems to be the most likely person to survive the discharge. He still has a lot of potential as a character, plus we still don't know what happened to his legs. Eko has been the breakout character of the Tailies, and it would be a waste to lose him after just one year. Desmond may be the most likely, but if we're going to see more of Penelope looking for the island, he probably should survive.

There is something unsettling about Charlie forgetting about Eko, Locke and Desmond. It may be understandable that everyone else wouldn't know what happened, but why wouldn't Charlie go back to the hatch (or what's left of it) to see who's OK? Obviously some time has past since the discharge, since it's nighttime when he finally gets to kiss Claire.

Some suspect Charlie is still holding some residual anger towards Locke, as he seemed a little too cheery telling him that Desmond came back. Perhaps he was just getting a kick out of seeing Locke, who had earlier publicly embarrassed him, lose his composure. The blast in the hatch appeared to have temporarily impaired Charlie's hearing, so that could possibly be a plot point for his character.

This listening station serves as a major plot twist (I think most of us during this scene had a similar expression as Penelope's when she got that call). It ultimately debunks the "they're in purgatory" theory (and for those who insist that they can travel between worlds…stop) by taking us off the island for the first time in almost 49 hours of TV (besides flashbacks). Where are they that makes it an ideal location for a listening station? Is this the station where Sam Toomey and Leonard heard the numbers transmission?

The man on the phone with Penelope (who was not Matthew Fox with a prosthetic nose) tells her that they may have found "it", not "him". This could be interpreted as Penelope was looking for the island. With all the theories springing about Widmore and Hanso, a connection or a potential rivalry, seems very certain. Obviously, Hanso invested a lot into this island, and locating it would be beneficial to Penelope for some reason. On the other hand, she could be using her considerable means to locate Desmond's location (another interpretation of "it").

The only problem I could see stemming from this cliffhanger is the possibility that, in season three, there may be too much of a shift in the storytelling from the island to off (the flashbacks are a different beast and can stay). Penelope looking for the island would be best played as a few guest shots through the season than a major subplot that would detract from the island.

I read somewhere that the Harry Potter books serve as an inspiration for how they construct their season (and for those who think they are above a "children's book", get off your high horse). Like the novels, each season of Lost (they hope) will introduce a major element to the mythology as a relatively self-contained experience that also sheds light on the overall mysteries of the story. In this case, season two was about the hatch, which revealed a lot about the history of the island, while dropping hints to things we'll discover later. I'll go more in depth if I decide to do a season in review for Lost, which may be possible after a few days (this has been the longest review, ever!) As for what season three's overarching story, it's likely it'll be about The Others, who we learned an awful lot about this season. Although some may still complain that "nothing happened" this season, I doubt many of them won't find themselves in front of a TV when season three begins in the fall.

Score: 9/10