Buffy the Vampire Slayer: Season 2, Episode 15 Review: Phases

Phases

Original Airdate: January 27, 1998

Writer: Dean Batali & Rob Des Hotel
Director: Bruce Seth Green

With Oz’s status in the group cemented in the previous two-parter, they wisely decide to spend this episode developing his character further. Also, with the inclusion of Frankenstein, mummies and vampires (obviously) as story fodder, it’s fitting they would get to werewolves. This episode tackles both. That introduces the interesting contrast of Oz: he’s the most laid back of the main characters, yet he has a dangerous other side. Oz’s demeanor is so collected that even traumatic events like finding out he is a werewolf or waking up the first morning after in the woods naked don’t shake him as expected. With his animalistic other side, how can the gang deal with it?

His cool demeanor was a big draw for Willow, like Willow’s unique quirks were for Oz. The discovery of his bad side three nights a month shakes up what could’ve been a quiet joining. Unlike Angelus, this side is much easier to control, and isn’t persistently with him. Willow compares his “phases” to her time of the month. However, perhaps this was made to avoid another “my boyfriend is a monster” storyline that they were already handling; they could show how far the beast in Oz could go later.

While Oz’s appeal to Willow in “Innocence” is sweet and endearing, it contradicts the common teenage guy mindset (“Looking at linoleum makes me want to have sex”). Cynically, it could be determined that there was something else that made Oz want to keep Willow from getting too close. Like some people who are known for being in control, they don’t want it revealed that they are human and can lose their cool like anyone else, and the werewolf analogy is a good fit. This episode is about Willow discovering that and the beginning of Oz learning to accept it.

Before the Oz reveal, the obvious choice for the werewolf’s identity was Larry, the jerk who harassed every woman in sight (except Cordelia for some reason). This subplot, where Xander, through several vague questions, gets Larry to come out, serves as comic relief. While some may criticize Xander’s reaction to the allusion of his own sexuality as homophobic, it’s not hard to believe an insecure teenage guy acting that way. Considering where the show would go, you can hardly claim “Buffy” or her friends were anti-gay. Larry’s coming out changed his character for the better. The intention of these moments in relation to Xander was Joss Whedon’s wish that one of the central cast members be gay and this would be foreshadowing if they wanted to make Xander gay.

The biggest mistake of this episode besides the werewolf costume was the decision to show that Angelus, not Oz, killed Teresa before the gang discovered it. The scenes with Angelus weren’t necessary altogether. Having the audience know that the easy out is the case isn’t better than using it and revealing it later. As Oz realizes that he is a werewolf, we’re not subjected to the lingering doubt he has over his believed actions, which could’ve added to the episode, considering Buffy’s guilt. Plus it would’ve established the notion of Angelus being a present danger for Buffy even when they aren’t together.

This episode develops the concept of Buffy’s guilt over not being able to save someone from a menace she could’ve killed or incapacitated. This topic was going to be addressed eventually, as Buffy is only one person and she can’t kill every one of her adversaries as soon as they come at her. Not killing a demon, especially a vampire, will lead to further lives lost. When looking at future events, Buffy’s guilt over Teresa was more setting up future episodes, when her lack of action would prove costly to those close to her.

After Xander’s dusted the newly minted Theresa, he shares a near kiss with Buffy. Considering how poorly things have progressed and fallen apart with Angel, Buffy is likely wondering how things would’ve played out had she chosen him in “Prophecy Girl”. They are obviously close, and considering their genders, it makes sense that they might consider what it’d be like to have them get together.

Following Buffy’s recent heartbreak, it makes sense that Giles, who is still clueless in the way of teenage minds (bringing a flashlight and supplies to Lover’s Lane!) would be protective when Buffy confronts the condescending Kane (the actor would later play Sahjhan on “Angel”). Considering his own guilt over possible failures as a Watcher, he is putting Buffy’s best interests at heart.

Kane’s attitude is a toned down version of Angelus’: a guy who continually underwrites her achievements because of her gender. Such a character is a popular adversary for Buffy, and it’s fitting to bring one up shortly after Buffy’s been hurt so badly by another man. By standing up to him, it’s like a stepping stone for her to eventually confront Angelus. His other contribution to the episode is placing Oz in danger, since the monster of the week isn’t the main villain and Buffy can’t kill a human, even a werewolf.

“Phases” can be compared to the earlier “Surprise”/”Innocence” combo, in that they both show how two of the leading women deal with the reveal of a monstrous side of their respective boyfriends and how their understanding either brings them together or tears them apart. Unlike Buffy, Willow’s beau is easier to maintain: the werewolf is only there a few nights a month. While that may not be as exciting as Angelus going on a killing spree, there are hints of problems we’ll see later (besides that cheese ball line “A werewolf in love…”)

While previous episodes in between major stepping stones in the season have been filler, this episode takes some advantage by developing a new character, setting forth his motivations for the future. It also briefly touches upon the difficult concept for Buffy that she can’t save everyone, a fact that would explode in coming episodes.

Overall Score: 7/10