Buffy the Vampire Slayer: Season 2, Episode 19 Review: I Only Have Eyes for You

I Only Have Eyes for You
Original Airdate: April 28, 1998
Writer: Marti Noxon
Director: James Whitmore, Jr.

The remainder of the season before the inevitable showdown would have to deal with Buffy’s guilt over accidentally reviving Angelus and Jenny’s murder by his hand. They attempted to tackle this feeling of helplessness in the previous episode, but the elements failed to gel largely due to introducing an unnecessary element to Buffy’s character. This episode tries again and succeeds leagues beyond its predecessor because it touches upon many elements of the series and the relationship between Angel and Buffy.

With the darkness surrounding Angelus following Jenny’s demise, it’s almost easy to forget that once his good counterpart was in love with Buffy. This episode serves to remind us, if only to intensify the tragedy in time for the finale. Both Gellar and Boreanaz turn in great performances when the lovers possess them that in the end the harsh reality becomes harder to accept. It was this episode that proved to Joss Whedon that David Boreanaz could carry his own show, the “Angel” spin-off.

Buffy’s guilt is apparent from the opening, as she can’t even engage with the harmless young man who flirts with her at The Bronze. Obviously, it would be a bad choice for her to get involve with someone else so soon after things fell apart, but it shows how badly her choices have affected her life and how extreme they are. She should be out enjoying herself, but can’t. Her slaying affecting her life has been boiling for some time, and now it is close to critical mass.

She finds an outlet to unleash her frustration in the story of fellow star crossed lovers James and Grace, a student-teacher relationship that ended in an accidental murder/suicide. Throughout the episode, she empathizes with Grace, as James’ actions could be compared on a superficial level to Angelus’. She uses the anger she’s had towards Angelus against James, which inhibits her judgment, explaining why she is far more extreme in her attitude than anyone else in the gang during their investigation.

Buffy’s staunch condemnation of James for his actions shows her reluctance to forgive herself for her own. Cordelia nails it after Buffy aggressively argues that James is a monster who must be punished for his actions, using words that could easily be applied to her. By proxy, Buffy would feel that she is a monster herself, and it isn’t until James possesses her that she realizes that, and such a revelation wouldn’t be easy to swallow. Her almost suicide under possession mirrors her self-destructive attitudes. It’s similar to her own conflict over seeing Angel as the man she loves or Angelus her arch enemy.

The twist, where the gender roles are reversed when Buffy and Angelus are possessed, is highly satisfying, and is one of the strengths of the episode. The original dialogue between James and Grace is deliberately vague enough to allow themes from Buffy’s life and her relationship with Angel to permeate: the desire for a normal life, the abrupt end of their love and her remorse over making it happen. It isn’t as forced as Der Kinderstod from the previous episode. The performances are also well done. It could’ve easily gone the other way and been unintentionally funny.

Like “The Dark Age”, Angelus’ undead status provides the perfect avenue to handle the supernatural phenomena. Being unharmed by the bullet and fall allowed Grace (inhabiting Angelus’ body) to tell James that what happened was an accident and that she forgives him. It’s possible that The Powers That Be (as they’d be known on “Angel”) orchestrated this to teach Buffy this very lesson. It would explain why this happened this year instead of every Sadie Hawkins’ Dance.

Giles experiences his own feelings of loss when he adamantly believes the spirit causing the mayhem is Jenny. His stubbornness rivals Buffy’s, even when none of the evidence validates his opinion. Only after James tries to pull Willow into the floor does he realize that she wouldn’t do anything like that. His disappointment is muted, but fitting as he had his major grieving in “Passion”, as well as the episode’s focus on Buffy and Angel’s relationship.

As things spiral out of control at Sunnydale High, Snyder’s role as principal is illuminated. The mayor (who is referenced for the first time in this episode) placed him there to handle damage control whenever the supernatural events happen. Since there was no evidence to the contrary, it can be assumed that the mayor reference in this episode was meant to foreshadow future episodes when he would be a major player. In a town filled with evil, it’s logical that the mayor is someone whose mere mention can scare someone to obey.

Another character turning point comes when Willow looks through Jenny’s old things as part of her substitution. Despite Angelus destroying Jenny’s computer in “Passion”, she obviously backed up her information elsewhere (this is a possible explanation for that plot hole). Since she was last looking for a magical way to restore Angel’s soul, there are a lot of magic documents, which will ultimately prove a fateful find for Willow.

The other big twist occurs when Spike emerges from his wheelchair, restored to his original health. With Angelus tormenting Spike with Dru for the past few months, it’s not a surprise he would keep his recovery secret. Now that Angelus reeling after feeling like a human again, he finally gets some payback. It is telling where his character is heading as the finale looms, and is also welcome, since impotent Spike is nowhere near as fun as the Spike we saw in the first half of the season.

Of the episodes between “Passion” and “Becoming”, this is the one worth keeping. One could skip the other two and not miss much, but “I Only Have Eyes For You” is a worthy entry, reinforcing many of the themes of the season and making this tragic romance harder to watch.

Overall Score: 9/10

Buffy the Vampire Slayer: Season 2, Episode 18 Review: Killed By Death

Killed By Death

Original Airdate: March 3, 1998

Writer: Rob Des Hotel & Dean Batali
Director: Deran Serafian

Whereas the previous episode was a milestone for the series with an extremely daring move in the seasonal narrative, this one feels out of place. It is reminiscent of earlier “Buffy” episodes, back when they weren’t quite sure what this series would be about. Since there are still four episodes left this season, perhaps these episodes serve to pad the season so they could have Buffy confront Angelus in the finale as would be dramatically appropriate.

Considering what happened, it would make sense for Buffy to feel responsible and helpless over what happened to Jenny. So they explore that by detailing Buffy’s hospital fear after helplessly watching her cousin die when she was younger. Apparently Buffy had no problem empowering herself long before she was called, but that impotence when faced with the loss of someone close has remained too.

When children start to die at an alarming rate, Buffy puts the pieces together as a tangible foe, whereas her friends believe she’s doing so to deal with her feelings after Jenny’s death. She isn’t comfortable in situations where she doesn’t have control. Ultimately to confirm her beliefs that there is something beatable diminishes the impact of her character’s story. Although they slipped into this throughout the series, they would get better at handling the situation.

There are three separate threads to this episode: the past with Buffy and her cousin, der Kinderstod and Buffy’s feelings of helplessness. Ultimately they don’t come together, even if it’s clear what they were trying for when they made this episode. Some things are glaringly tacked on, like Willie Garson’s security guard character who had some admiration for the controversial doctor (luckily the actor would have more to work with as Carrie’s gay best friend on “Sex and the City”). Another episode mourning Jenny might’ve been a better call.

Making Buffy sick is a possible solution, but the way they go about it is too ridiculous to swallow. How exactly would Willow know the vial in Dr. Backer’s cabinet would be poisonous in its pure form and would have to be diluted, not to mention how much water she would need to dilute it properly? By taking the point of Buffy making herself weak so she can confront her weakness down this avenue, it diminishes the point they were trying to make.

There are some more glaring plot holes as well. For a doctor to go missing with a bunch of children dying, wouldn’t it make sense for someone to connect the two and surmise they are related? Kinderstod’s murder of Dr. Backer isn’t clear either: instead of keeping a low profile, going after a healthy doctor is going to raise eyebrows, even if the demon can’t be seen from a healthy person’s perspective. Also, why isn’t security airtight?

The most satisfying point of the episode is Xander playing Buffy’s “white knight” when Angelus tries to mockingly leave some flowers for her. While Xander is a character frequently bogged down by his own insecurities, he’ll still able to pull through with moments like these. Standing up to one of the greatest monsters of all time, not to mention one who is going for the emotional jugular, is a major victory.

His defense and allegiance to Buffy continues to strain his relationship with Cordelia. The fact that they can never have a happy romantic relationship because of Xander’s attachment to Buffy becomes increasingly clear. While they made up after Xander’s love spell debacle, it was hardly a smooth reunion. She was flattered that he went to such lengths!

Another brief moment is Joyce’s words of consolation to Giles. Considering his death wish at the end of the last episode, it’s unfortunate not enough was done in this episode. It does add a little to the connection between Joyce and Giles that has been brewing this season.

Overall, this episode was completely unnecessary, throwing the series back a few steps after the landmark “Passion” episode. Things don’t add up when they should. It’s an unfortunate place to put such an episode as things with Angelus were driven to new heights (or lows), but perhaps this episode is another example of them filling out the 22-episode order.

Overall Score: 5/10

Lost: Season 3, Episode 20 Review: The Man Behind the Curtain

The Man Behind the Curtain
Original Airdate: May 9, 2007
Writer: Elizabeth Sarnoff and Drew Goddard
Director: Bobby Roth

Obviously, this episode has been anticipated for a long time. Ben’s arrival in the middle of season two kick started the season and he has since become a valuable part of the ensemble. With his various manipulations and mind games, it can be almost impossible to determine when he is honest and when he is playing another game. So, as his character sees his role in The Others in jeopardy, it makes sense to explain how he became the leader. It seems like these flashbacks were originally going to be for the finale, which would fit past season themes, but the news of a definitive end date could’ve made them switch things around, still holding a major card for the finale. As a result, there are a lot of blanks to be filled, but that seems to promise that there will be plenty of Ben in the future.

It’s not a big surprise to learn that Ben wasn’t born on the island (even if there was no way he could remember his birth), but his words could be reinterpreted. Being “born” on the island doesn’t necessarily mean a natural birth like Aaron’s, but a spiritual one like being “born again”. His alliance with The Hostiles made him into the man he is, even if he’s holding residual resentment towards his abusive father.

Like nearly every character, Ben’s dad has issues with his father. The death of his mother after giving birth to Ben hung over his head so much that his father wouldn’t let him have even a good birthday without bringing up that fact in the least sensitive manner possible. This explains Ben’s behavior in “The Brig” when Locke was faced with his own abusive father and Ben tried to convince him to do it, as well as Ben’s obsession with fertility. It also wouldn’t be hard to believe, with what was revealed in “One of Us”, that Ben could somehow manifest a situation where all pregnant women died. The island has done similar things before to other characters, particularly Walt. Perhaps the fertility solution will only be solved when Ben dies or resolves his issues.

Juliet served to show us how The Others would bring in someone to join them. It turns out Ben was brought in similarly, but his active choice showed his “commitment”. It’s still unclear what it is like for someone born into the Others, or if any of them apply to that term. Richard would be the closest as he is the only prominent Other seen as part of the Hostiles, but not much is known about his history.

Time has been explored before, but this episode introduces a whole new element with Richard’s history. He has not aged since he first met Ben in the 70s, yet Ben has grown up. There have been hints that The Others, at least those who devote themselves to their beliefs, may have some ability to control time and space (see the reversed audio from Room 23). Ben remarking about remembering birthdays could be read as Richard being so old he has lost count of his real age. Ben’s aging, as well as his illness, could be major hints to his lack of ability to truly lead The Others.

Ben’s mother (who oddly enough was played by Michael Emerson’s real life wife) appearing before him and leading him to the sonic fence could be chronologically the earliest occurrence of The Monster. This vision intrigued Richard and is likely what got him to become the eventual leader. It’s not hard to believe that The Others would wait for a Chosen one and no one had such an experience. However, we’ve seen The Monster manifest itself as many people or things to other characters, so eventually The Others would have such encounters. With Locke’s miraculous recovery, it places him on top as potential successors because he is the “real deal”. Since Ben became the leader after assimilating, it wouldn’t be hard to believe that Locke could do the same.

Unlike last season, this episode is the first true look at how Dharma operated on the island. The open mindedness of hippie scientists is shown with Horace, but hints are dropped throughout of more nefarious undertakings, such as the shoot out Roger finds himself in while on a routine delivery. There is still some meat in the Dharma story.

While described as natives, The Others during the purge had access to tools and weapons that couldn’t be made on the island. The gas canister lacked the always prominent Dharma logo, so it could be implied that The Others didn’t steal it for their plan. Perhaps Mittelos existed and had prior access to the island, but quickly clashed with Dharma over their inhabitation.

It’s been presumed that the pair working in The Swan, possibly Radsinksy and/or Kelvin, were unaffected by the Purge, as their post demands isolation and Ben may have not known about it. Considering how little was mentioned about other Dharma stations in “Live Together, Die Alone”, not to mention Kelvin and Desmond’s behavior, it’s reasonable to conclude that as correct. As far as they knew, no one was coming to take their place, and Kelvin got lucky when Desmond washed ashore, and could be trusted as an outsider. How they found out their associates died is another question, but that could point to Kelvin and/or Radsinsky being Others like Mikhail, who still adorned the Dharma gear.

While Ben felt that humiliating Locke in the previous episode would be enough to get him off the track of joining The Others, he underestimated how desperate Locke wanted to commune with the island, as we saw within that episode. Knowing he has the upper hand, Locke underwrites everything Ben says, especially when he can yell it to everyone in the camp. Payback is sweet for Locke, who comes to believe none of what Ben says is real and that Ben is this episode’s eponymous character.

Although Ben’s grip as leader may be tenuous, Jacob is very real. The scene at the cabin was a trip. Initially, Ben appears crazy to have an impassioned dialogue with an empty chair, but there are more than tricks in the shack. The brief glimpse of Jacob, both through video and high definition pictures, has been posted throughout the internet, so it’s easy to analyze. The forehead resembles Locke, but a close up of an eye during the chaos resembled Desmond. The idea of someone we already know being Jacob is hardly new, but this shot adds some credence to various theories.

The ash line, as well as the small pile on the chair in the shack, is another discussable subject. Some believe it’s an inert version of The Monster. However, it seems more likely that it would be something used to keep Jacob contained. His request for help to Locke could suggest that Ben is holding him prisoner because his power prevents him from crossing a line of ash.

Why Jacob reached out to Locke is a major question. Did he mean help as in assistance, like taking over as the human element of the Others or to uncover some element of the island? Did he mean the popular interpretation, that he was in dire need of assistance and Locke was the only person to help him. As more is revealed about Jacob, this should become clear.

With Jacob contacting Locke without Ben knowing, Ben goes to extremes to stay a leader. By shooting Locke and leaving him in the mass grave (some of whom appear to have been shot as well), he hopes to keep his position and ensure Locke dies before anyone will be able to find him. Of course, considering his wound was in his abdomen (perhaps near where his kidney used to be), the island’s healing properties as well as Locke’s importance, there is no chance it’ll be the last of him.

While “Tricia Tanaka Is Dead” appeared to be a filler episode, it actually gave us a hint of what would happen in this episode. The episode confirms that Ben’s father drove the Dharma van Hurley found. Answering that question added some darkness to the upbeat Hurley episode. Initial thoughts made Roger sympathetic, a possible victim of an “incident”. However, this episode changes that by showing us how horrible he was to his son.

Back on the main beach, things grow tense as Sawyer returns with the evidence incriminating Juliet. It gets worse when Naomi and her news that they are presumed dead becomes common knowledge. While they are powerless against informing people that they are alive, the believed confirmation of Juliet’s treachery threatens to tear the castaways apart. This certainly warrants the question of why Jack wouldn’t be open to telling his trusted friends this information in hopes that they would collaborate on a plan. It comes off as unusual.

The biggest problem with this episode is its incompleteness. In Ben’s flashbacks, he goes from being a preteen to an adult with little explanation for the interim years. Perhaps this episode was meant to be a two hour episode, with additional flashbacks detailing his assimilation and perhaps offering insights to other incidents on the island (like Rousseau’s expedition and the abduction of Alex). This type of jump is similar to Jesus in The Bible, who is seen as a newborn, a preteen and an adult similarly. It also ties into previous moments, such as seeing Ben tied up in a Christ-like pose when he was in The Swan last season. Why they would go for Christ metaphors for Ben is unclear and slightly odd (especially considering the father-son relationship), but may make sense or be discredited after we see more from him.

Annie is another loose end that stopped more than ended. It’s not clear whether she was among the purge, as Ben would likely stop to remember her as he did with Horace. One popular theory I like is that Annie is Danielle (Annie could be a short form). There seemed to be some hint of history when they’ve interacted in the past. It also helps that Michael Emerson and Mira Furlan share the same birthday, only a year apart.

As the season wraps up, major conflicts come to a head. This episode had plenty of surprises, as well as some questions answered in the process. While Ben’s flashbacks felt incomplete, the result on his character in the present was still compelling. The stakes are ratcheted high with Naomi becoming known to both camps and with the planned invasion of the beach imminent. This kind of payoff is what we’ve been waiting for, and the build up has been superb.

Overall Score: 8/10

Lost: Season 3, Episode 19 Review: The Brig

The Brig
Original Airdate: May 2, 2007
Writer: Damon Lindelof & Carlton Cuse
Director: Eric Laneuville

After six episodes, just in time for sweeps, we return to the “dad in a box” reveal from the superb “The Man From Tallahassee”. It makes sense for the narrative as the events in this episode serve as major stepping stones for Locke and Sawyer, which will propel them through the end of the season. Anthony Cooper being the real Sawyer, a theory that’s been kicked around since his introduction in “Deus Ex Machina”, was hardly shocking. Since they went that way, the payoff would have to be worth it. Thankfully, it is, and has some great performances, including some of Josh Holloway’s best work. This episode has some of the darkest material so far, with revenge and its complicity painted in its ugly extreme, negating any redemption we’ve seen so far.

One thing of note: previews for previous episodes featured some moments from this one (particularly The Others gathering around the night Ben tried to get Locke to kill his father for the ads for “D.O.C.”). Were some of these scenes meant to be spread out from episodes 13 to 18? It makes sense for them to scrap that idea and throw them all in this episode, which makes the overall package more effective than if they did another flashback story.

This episode could’ve easily been changed to a Sawyer episode without much alteration. A likely flashback scenario would’ve been about the effect Cooper had on Sawyer immediately after his parents’ death, and how he became a con man. However, such pieces of evidence have been described before in previous Sawyer episodes, and considering some of the flack “Lost” has received for redundant flashbacks, it may have been better to focus on what happened to Locke when he went with The Others.

Sawyer was heading towards redemption. He stepped up as a leader in Jack’s absence and started a relationship, albeit one on a faulty foundation, with Kate. Now he has exacted revenge against the man he blamed for ruining his life and the aftermath has left him shattered. Some figured that Sawyer would confront the real Sawyer (who had to be on the island somehow) at the end of the arc. Perhaps a fitting way for him to redeem himself would be to spare him. However, with Sawyer fulfilling the vendetta he’s had since he was a child, where does his character have to go from here?

Recalling “Outlaws”, one problem haunting Sawyer was his quest for revenge lead him to kill an innocent man who owed one of Sawyer’s ex-associates money. The common interpretation is the boar in the episode was the island’s manifestation of his prior incident, and sparing the animal was a sign of him heading towards the right path. Exacting his revenge in brutal fashion is a major step back, one that will likely take the end of the series to make up, if ever.

Cooper, who has been on the island only a short time, still faces the rule that those who don’t face their past are placing themselves in danger. Short of saying Sawyer’s mom was easy, Cooper does everything in his power not to repent or to feel remorse for what he did. On the other hand, he thinks he’s in hell, so what good would repenting do? His story getting to the island offers another glimpse into just how powerful Mittelos/The Others are in the outside world, that they can get someone that easily.

Unlike the common cliché, the test for Locke was to see if he could kill his father, not find the strength to spare him. This incident makes us question exactly what they mean when they call themselves “good people” if they’re willing to let someone, albeit a bad guy, be murdered in cold blood. If more was known about The Others this may be clear, but it seems as though it’ll be some time before that happens. Perhaps they are the extreme Locke is in danger of becoming.

Richard makes a fair assessment that the incident served to embarrass Locke in front of The Others, who are in awe of his miraculous healing. Ben’s jealousy has manifested before, but now it’s clear that he is fighting for his leadership role in The Others. Richard, who seemed to be a neutral force among The Others, stages a minor coup by giving Locke the key to Cooper’s death, and by that, further access to The Others.

While Locke no longer has his father hanging over him, his quest to the heart of the island is troubling. He no longer cares for anyone but himself. It doesn’t matter to him that Sawyer has to kill again, so long as it helps Locke achieve his perceived destiny. Compare this to Locke from the end of the second season, where his lack of faith in the island caused him to disregard everyone, with near deadly results. This time the pendulum has swayed to the new extreme.

His need for acceptance is also a major factor in his story. He did not move on after his father’s death (symbolized by his Christ-like bearing of the body in the end), but replaced his desire for a meaningful relationship with his father with one with Ben. Despite their shaky relationship, Locke somehow thinks Ben is key to getting what he wants. Although Ben is jealous of Locke’s connection to the island, he is still a master manipulator, getting Locke to dismiss that notion. Ultimately Locke will have to return to the person we first met in the beginning, only without the need to have someone’s approval, if he is to have peace.

It was about time we saw The Black Rock again. One of the great surprises of the end of the first season was the reveal that The Black Rock wasn’t literally a black rock. Its strange history was explored on “The Lost Experience”, but I won’t go into detail here. Locke’s decision to bring Sawyer there is also a worthy topic (it may be because none of the remaining hatches Locke knows of have a room that would serve that function).

Although no explanation is given to how she got out of the Barracks or what she did after seeing her daughter, Rousseau’s cameo was a kooky treat. Considering she never returned with the crate of dynamite, she must have something big planned. It would make sense for her to be more calculated in her attempt to get her revenge against The Others, and that would require pooling all her resources.

The “old place” the Others take Locke to, with a pillar used to hold Cooper captive, could be connected to the infamous four-toed statue from “Live Together, Die Alone”. The architecture could easily have been from the same era, and there’s no confirmation or denial that the foot is nearby. It hints again at the larger history of the island: one that goes beyond Dharma’s arrival in the 70s. One thing that should be addressed eventually is what prompted the mass exodus from the Barracks and why were the Ruins the destination, but that may be for another episode.

Like The Others’ camp, divisions are forming over the new arrival. While they would’ve gone to Jack immediately before, now they are keeping secret in Hurley’s tent. Getting Sayid involved was a wise choice since he is the highest profile anti-Other of the castaways still on the beach, not to mention his unequaled ability to read people. This technique doesn’t make him friends with Naomi, as he gets rather confrontational when he asks if the search party can corroborate any of her story. Since it is “Lost”, it would make sense for her to have some past errors and sins.

Obviously, the secret keeping is going to be very costly for the group, as seen when Kate finds out about Naomi and confronts Jack about what his friends are doing. For the first time Jack knows what his allignment with Juliet is costing him in terms of his leadership status in the group. Jack’s ego clearly clouded his judgment. It never occurred to him that spending a week and a half with The Others would make some people suspicious of his motives when he got back, considering what happened with Michael?

Juliet hints at a master plan she has concocted with Jack, but he for some reason shuts her down. Ironically, he wants to be taken on faith rather than openly give out what these plans are, even to trusted allies like Kate.

Much like Locke, this episode is the darkest “Lost” has ever been. Considering how obvious the reveal of the episode was, the way it played out more than made up for it. As the season winds down, the stakes are continually being raised and character’s roles are being challenged, which has been fascinating to watch.

Overall Score: 9/10