Three things
Sep. 6th, 2006 06:18 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
hazelkBoys back at school at last! (Does that make me a bad mother)?
New haircut less good than the last one. Soemeone should invent a pill or something that stops hair from growing when it's good. Although maybe it's the bad hair days that make the good ones cherishable.
I made some notes on Smashed for the TATF S6 re-watch
Buffy and Spike cross paths three times in this episode, set-up, follow-through and punchline like a dark and dirty joke. Or thesis (meet cute), antithesis (rematch turns bitter), synthesis (said it was dirty). Drew Greenberg in the DVD commentary only remarks that his first scene evah allows a last glimpse of quippy Buffy but with hindsight it seems to foreshadow far more than that. Buffy quips but she’s all suited up in prom queen Bitca. The jokes are at rather than with people even though all involved are human. Until Spike turns up and immediately fails to grasp, even intellectually, that strangers’, even strange muggers’, lives have value. He fails again when he sets out to test the chip and a third time, in yet another alley, in Dead Things.
Interestingly events from that episode are prefigured a second time with Spike’s parting jibe about Buffy having no-one there for her but him. But at this point in their relationship she’s able to leave without being seduced and as the camera pans back it looks as though he’s talking about himself.
From Buffy-meets-Spike to Willow-meets-Amy. Elizabeth Ann Allen does a wonderful job of gradually toning down the ex-rattiness but never quite losing it altogether. Willow, smug in denial, has the upper hand in their first meeting but by the second Amy’s in charge right up until the boys call her a tease and the girls move on to the synthesis stage, combining their witchy powers to send the men dancing.
Returning to the Spuffy, three definitely seems to be the magic number. He grabs her, she hits him, he knocks her off her feet. More deep and meaningfully I think this is the second of three times in the series when he tells her he can change. The first time in Crush she thinks he has no idea what he’s talking about, this time she’s afraid she’s no better. The third time in Beneath You he really has changed but I think the right question is still “Into what?”
Beginning, middle, end. Time for the punchline. Spike throws down a challenge a non-verbal “Give it to me good,” that this time Buffy can’t resist. Bad decision – he can hurt her now. But no-one’s backing down, verbally or otherwise and moon eyes to dark side they’re both so clear the other is lost. It escalates perilously, a fight to the death surely? Except that the rule of three always demands a twist in the final line. Suddenly the music rises, hearts grow bulgy and the house falls down.
New haircut less good than the last one. Soemeone should invent a pill or something that stops hair from growing when it's good. Although maybe it's the bad hair days that make the good ones cherishable.
I made some notes on Smashed for the TATF S6 re-watch
Buffy and Spike cross paths three times in this episode, set-up, follow-through and punchline like a dark and dirty joke. Or thesis (meet cute), antithesis (rematch turns bitter), synthesis (said it was dirty). Drew Greenberg in the DVD commentary only remarks that his first scene evah allows a last glimpse of quippy Buffy but with hindsight it seems to foreshadow far more than that. Buffy quips but she’s all suited up in prom queen Bitca. The jokes are at rather than with people even though all involved are human. Until Spike turns up and immediately fails to grasp, even intellectually, that strangers’, even strange muggers’, lives have value. He fails again when he sets out to test the chip and a third time, in yet another alley, in Dead Things.
Interestingly events from that episode are prefigured a second time with Spike’s parting jibe about Buffy having no-one there for her but him. But at this point in their relationship she’s able to leave without being seduced and as the camera pans back it looks as though he’s talking about himself.
From Buffy-meets-Spike to Willow-meets-Amy. Elizabeth Ann Allen does a wonderful job of gradually toning down the ex-rattiness but never quite losing it altogether. Willow, smug in denial, has the upper hand in their first meeting but by the second Amy’s in charge right up until the boys call her a tease and the girls move on to the synthesis stage, combining their witchy powers to send the men dancing.
Returning to the Spuffy, three definitely seems to be the magic number. He grabs her, she hits him, he knocks her off her feet. More deep and meaningfully I think this is the second of three times in the series when he tells her he can change. The first time in Crush she thinks he has no idea what he’s talking about, this time she’s afraid she’s no better. The third time in Beneath You he really has changed but I think the right question is still “Into what?”
Beginning, middle, end. Time for the punchline. Spike throws down a challenge a non-verbal “Give it to me good,” that this time Buffy can’t resist. Bad decision – he can hurt her now. But no-one’s backing down, verbally or otherwise and moon eyes to dark side they’re both so clear the other is lost. It escalates perilously, a fight to the death surely? Except that the rule of three always demands a twist in the final line. Suddenly the music rises, hearts grow bulgy and the house falls down.
no subject
Date: 2006-09-15 11:44 pm (UTC)Hmm, I hadn't noticed that before. I don't imagine they planned that but they're interesting points to focus on in the Spuffy arc.
Just wanted to add that it's the other Drew who wrote this, Drew Greenberg.
no subject
Date: 2006-09-16 10:03 am (UTC)