Buffy Blogthrough: 1.6 "The Pack"

Most mornings, to warm up my brain I write & edit 150 words — a TV episode, movie, news item, or whatever. Now that I've got Lady Hotspur watching Buffy the Vampire Slayer, I've decided to post these exercises so you & she can enjoy them too!

1.6 "The Pack"

broadcast: April 7, 1997
writers: Matt Klein & Joe Reinkemeyer
director: Bruce Seth Green

Xander gets a second chance to take center stage in another episode based on high school “issues”. On a zoo trip, he and a gang of bullies get zapped with an animal-possession spell. Their violently feral actions culminate in the gang devouring the principal! As juicy and hardcore as that twist is, the hyena behavior and its use as a metaphor for cliques are both a bit silly (especially the stoner giggles). It only really works when Xander is the focus. His transformation into an asshole is stronger as a real teen concern than simple cliquish bullying — and one that the show will return to. It also takes good advantage of the Buffy-Xander-Willow triangle, especially since it finally gives Willow a substantial role and emotional stakes. And the outcome — that Xander is ashamed at acting on his more caddish impulses, even inadvertently — feels as authentically true to life as anything on Buffy so far.

Theater: Title Bout (June 27)

Every week, I compose listings on the week's new plays for Metromix NY. I'm often disappointed by the titles that playwrights choose for their work, so I'm reviewing their titles now. Not the shows (I haven't seen them yet) just the titles. To read about the content of each show, click through its link to my listings on Metromix NY.


ALL NEW PEOPLE
Ambiguity usually adds to a title, but here it detracts. Maybe it means “All-New” (as in “All-New, All-Different X-Men”)? Or does the title mean to invite only new people, and all of them at that, as if it were a barker? The more it's examined, the less sense this dull title makes.

TRYST
An odd word, mostly because it looks archaic but it's not. It's got the very specific meaning of “romantic rendezvous," which works in this one-word title's favor by setting up a pair of lovers and a clandestine tone. As a title, “Tryst” encourages you to imagine the beginnings of a story, which is what a good title should do.

Buffy Blogthrough: 1.5 "Never Kill a Boy on the First Date"

Most mornings, to warm up my brain I write & edit 150 words — a TV episode, movie, news item, or whatever. Now that I've got Lady Hotspur watching Buffy the Vampire Slayer, I've decided to post these exercises so you & she can enjoy them too!

 

1.5 “Never Kill a Boy on the First Date”
broadcast: March 31, 1997
writer: Rob Des Hotel & Dean Batali
director: David Semel

As a superhero, Buffy is a riff on Peter Parker, where ethical responsibilities frustrate the hero's normal adolescence. This conflict gets dramatized in the series' best episode so far. Buffy's first date with a hunky bookworm becomes a vampire hunt; though everyone survives (except the vampire, of course), she turns down a second date. The basis for her decision gives an extra twist to the Parker Archetype: the problem isn't her secret identity, it's her beau, who's a thrill-seeker and so a danger to himself and others. The episode's plot plays more as a structure to hang the character conflict on than a key development in the season's arc. The bat-like vampire king recruits an “Anointed One” who, according to prophecy, will kill the Slayer. The fake-out — this Anointed One isn't the scripture-quoting psycho vamp but a little kid — is satisfying mainly because we know the truth but Buffy doesn't.

Buffy Blogthrough: 1.4 "Teacher's Pet"

Most mornings, to warm up my brain I write & edit 150 words on yesterday's entertainment — a TV episode, movie, news item, or whatever. Now that I've got Lady Hotspur watching Buffy the Vampire Slayer, I've decided to post these exercises so you & she can enjoy them too!

1.4 "Teacher's Pet"
broadcast: March 24, 1997
writer: David Greenwalt
director: Bruce Seth Green

Of all the supporting characters, Xander has made the strongest impression so far. So he's the logical first choice for a focus on the supporting characters. In “Teacher's Pet,” he bumbles into a sexual encounter with a substitute teacher. But, this being Sunnydale, she's actually a human-sized praying mantis who implants her eggs in young male virgins. That's a zesty metaphor for adolescent male sexual anxiety about the mysteries of reproduction and female desire. But the execution, by Greenwalt and Green, is rough. The predictable plot does let Buffy exhibit her intelligence, first by using a vampire as a bloodhound and then by applying her science lessons to defeating the she-mantis. As nicely feminist as this turn is, it shifts the drama away from Xander and leaves his sexual anxiety unresolved.  Buffy's dedication to its secondary characters is an admirable strength, but this first example is a poor demonstration.

Buffy Blogthrough: 1.3 "Witch"

Most mornings, to warm up my brain I write & edit 150 words on yesterday's entertainment — a TV episode, movie, news item, or whatever. Now that I've got Lady Hotspur watching Buffy the Vampire Slayer, I've decided to post these exercises so you & she can enjoy them too!

1.3 "Witch"
broadcast: March 17, 1997
writer: Dana Reston
director: Stephen Cragg

Part of what makes early Buffy appealing is how it dilutes the teen melodrama by couching them in a comedic-heroic tone. This week's subject is parental pressure on children. Buffy auditions for the cheerleading squad despite her mother's lack of enthusiasm (Joyce was on the yearbook staff). Their conflict parallels another blonde student, who's pressured by her mother, once the pep-squad leader, to excel at an activity she's ill-suited for. This being Sunnydale High, someone uses witchcraft to eliminate the competition, a predictable plot except for one clever turn: the mom has swapped bodies with the daughter! This magic twist makes literal the theme of mothers living through their children—a dramaturgical tactic unavailable to realistic dramas. Still, the plot does resolve itself conventionally (though the witch's fate caps the episode nicely). The richer drama is on the margins, in Joyce's displays of maternal clumsiness and in Xander's bumbling crush on Buffy.

Theater: Title Bout (May 17)

Every week, I compose listings on the week's new plays for Metromix NY. I'm often disappointed by the titles that playwrights choose for their work, so I'm reviewing their titles now. Not the shows (I haven't seen them yet) just the titles. To read about the content of each show, click through its link to my listings on Metromix NY.


H4
Is this a Shakespeare play titled for the Age of Twitter? Or would that be H4.1 and H4.2? Then it's the final shot in a cutthroat game of Battleship? Or a more generic grid location? A pun on “age four”? Please drop other suggestions in the comments!

I MARRIED WYATT EARP
I like this title's confessional, slightly lurid mid-20C quality, like I Was a Teenaged Werewolf. Presuming it's accurate, the title also gives us a period and subject: the legendary lawman of Tombstone, AZ.

THE ILLUSION
As generic as this definite-article/noun title is, the topic can easily send a potential audience down an whimsical avenue in search of the theme. After all, isn't all theater just an illusion? Isn't life? In fact, this is an adaptation of Cornielle's 17C drama L'Illusion comique, usually translated as The Theatrical Illusion. The original French title focuses on genre, not medium, and hints at the illusion's delight.

THE LADY'S NOT FOR BURNING
One of the great titles of 20C drama. It's such an odd statement! Just what transpires in this show that requires clarification about who shouldn't be burnt? Witchcraft, probably, but it does inspire the imagination. And the iambic syncopation makes the title so memorable.

ONE ARM
This title wears its subject on its sleeve; it's a play about an amputee. That missing limb has the potential to be a smart symbol as well.

SHAKESPEARE'S SLAVE
A bit of poetry that Will might appreciate. Every vowel sound is long, with the “ay” echoing across the gap of the “ee”, making it three stressed syllables, and the sibilant “s” acting as glue. As for content, this title conjures a ironic character from the imagination: a slave owned by one of the most compassionate depicters of human nature.

WTC VIEW
The reference to the Twin Towers helps to date this play's period, but so, cleverly, does the allusion to that lapsed style of classified ads. It's a play about an apartment search and roommate situation, with the heavy portent of the terrorist attacks implied as well. Does 9/11 figure in? Even if not, that reference has been activated.

Buffy Blogthrough: 1.2 "The Harvest"

Most mornings, to warm up my brain I write & edit 150 words on yesterday's entertainment — a TV episode, movie, news item, or whatever. Now that I've got Lady Hotspur watching Buffy the Vampire Slayer, I've decided to post these exercises so you & she can enjoy them too!

1.2 “The Harvest”
broadcast: March 10, 1997
writer: Joss Whedon
director: John D. Kretchmer

This episode can't stand alone as easily as Part 1 did, mainly because it gets bogged down in exposition and resolution. An okay comedic beat at the climax (“You forgot about sunrise…”) undercuts a sense of Buffy's triumph. And the low point has her trundle through tunnels while the vampires simply lurk in longshot. The pleasures of “The Harvest” are in its supporting characters. The cast fills their roles out nicely, especially Nicholas Brendan as sidekick Xander, who delivers the episode's best lines with great timing. The Master, Buffy's arch-villain, makes a good impression: his origin is Lovecraft and his look is Nosferatu, but his style is as casual as the teens'. And the show all comes together when Buffy's mother grounds her, saying, “Everything is life-or-death when you're a 16-year-old girl”. Then Buffy pulls her slaying paraphernalia from a closet stash and sneaks out the window to save the world.