Buffy the Vampire Slayer: Season 2, Episode 7 Review: Lie to Me

Lie to Me
Original Airdate: November 3, 1997
Writer: Joss Whedon
Director: Joss Whedon

Continuing the theme of Buffy wanting to be normal, Whedon gives us some information about what Buffy’s life was like before she was chosen by way of Ford. Because the story needed to be advanced, not much time is given to this past, but it is nice to see that Buffy did have a life before coming to Sunnydale. It reflects an easier, pre-Slayer time for her, but the reveal of Ford’s true intentions symbolizes how much things change and how Buffy needs to face that reality. It’s hard to fault her: like she would think one of her old friends would trade her life for a guaranteed shot at immortality.

Buffy is also having a hard time adjusting to the increased complexity of her relationships. Things with Angel hit a snag as both deal with jealousy. In a twisted way, they both learn that there were other people in their lives. However, the fact that one is an evil vampire and the other is willing to let a dozen kids be slaughtered so he can become one makes the resolution of said jealousies easy. Considering what’s in store, this easy out is forgivable.

Soon after Ford arrives, he tells Buffy that he knows she’s The Slayer, and that he found out just before she left her old school. Considering how much he seems to know about the topic, Buffy’s lack of concern reflects someone who wants to believe he just happens to know because of their history. As far as we know, the only people who were brought into the circle, beside Buffy and Giles, were people who inadvertently experience some supernatural phenomena, reveal that they know something about it or are evil. This should make Buffy a little bit more suspicious as Angel was. Like in many of our lives, a friend we haven’t seen in a long time returns only to reveal himself as someone different than the person we befriended. Only this episode goes to the farthest extreme.

As we’ve been told, many who experience the supernatural on “Buffy” tend to dismiss it using “real world” logic. This episode introduces a new subculture: one that is aware, not picking a side in the big fight, but using their talents for their own needs. For Ford, it is achieving salvation from dying. For the rest of his cult, they distort the idea of vampires into some grand, romantic creature, dubbing them “the lonely ones” as a way of associating them to their lives as alienated teens.

Ford engulfs himself in fantasy to cope with his cancer. He prefers to see his actions not as reality, but as scenes from a movie or TV show that play out in his head. He has to believe that becoming a demon is better than a slow, painful death. He even has the audacity to make Spike play into his movie (why he didn’t rip Ford’s head off is beyond me). While it is understandable to have some denial about having a major illness like this, Ford goes too far, bringing impressionable outcasts along, including “Chantarelle” (AKA Hot Goth Girl) and “Diego” (who looks like a kid’s birthday party magician). As far as Ford’s concerned, they’re just players in his movie instead of human beings.

In between the planned basement slaughter, Spike has some other plans that fit into one of Giles’ ancient texts. What it is unknown, but likely connected to Drusilla’s well being or some plans they have for when she recovers. She’s the only person who can get him to tone down his aggressive nature and Buffy knows The more important question is why Giles hasn’t looked through his inventory to figure out what the vampire took.

While Ford is a “One-off” character, the reveal that Angel is responsible for Drusilla’s madness and evil adds a new layer to the existing dynamic. We knew there was some history there in “School Hard”, but it goes far deeper than that. Throughout Angel’s tenure, he is constantly looking for a way to make up for his sins, and Spike and Dru are the personification of that. One of his problems atoning is his handiwork living.

A big moment at the end of the episode foreshadows the dark turns this season will take. Until this point, Buffy hasn’t killed anyone to whom she was close. Considering what lies ahead for the rest of the season, this moment doesn’t quite get the emphasis it should. Even by the end of this season, Buffy will go into some dark territory. Unlike Ford, she can’t use a cushion of fantasy to protect herself, which is what this episode warns against.

That final moment says a lot about this episode in general. Elements like that final foreshadowing and the back story between Buffy and Ford never quite gel. Plus, there are moments of sloppy story telling, like Buffy’s magic leap and her unexplained sparing of Drusilla when she could’ve killed her. Not a complete misfire, but could’ve been a lot better.

Overall Score: 7/10