Mon
Nov 18 2013 1:00pm

Buffy the Vampire Slayer Rewatch: “Did you turn this lady’s ex into a giant worm monster?”

Buffy the Vampire Slayer, Beneath You, Spike

“Beneath You,” by Douglas Petrie

This episode opens with noisy club music in Frankfurt and a pink-haired Potential (who we don’t know is a Potential, yet) on the run for her life. It doesn’t work out any better for her than it did for the young woman last week. This time, though, Buffy sees it all unfold, in one of her prophetic dreams.

“From beneath you, it devours,” the dead dream-girl tells her, before she wakes up screaming.

Dawn is on hand, being comforting. Buffy tells her there are other girls dying out there. The awareness is something of an escalation of her prophecy powers, but it makes sense, what with the girls being connected to Slayerness.

Buffy the Vampire Slayer, Beneath You, Dawn

Speaking of the whole concept of beneath, something is doing a subterranean Tremors homage through the highways and birdbaths of Sunnydale.

Now that we’ve been properly teased with both some arc story and the monster of the week, we have a little tour belowstairs in the school, where Spike is raving, raving some more, and chasing rats. The basic theme of his ramble is that it’s not time yet—naturally, he doesn’t say time for what—but then an earthquake-type rumble sets him to screaming.

Gibbering William, I must say, is just about my least favorite version of Spike. He’s too soft-voiced and mumbly, for one thing. And somehow raving Drusilla worked far better for me. Plus she had those creepy dolls.

Buffy the Vampire Slayer, Beneath You, Spike

But speaking of the new improved Sunnydale High School (now fully equipped with Bidet of Evil! for all senior administrators!), Buffy and Dawn are headed there in the Xandermobile, talking about Buffy’s new and somewhat ill-defined job on campus. Xander is very sweet and says he appreciated having a Slayer and friend to keep him alive while he was in school.

This turns into his expressing nostalgia for the good old days when he was dating, and they hash over the failure of his wedding.

Aside from his understandable sadness about being single again, Xander’s life seems, in every other way, to be on track. He’s supervising a couple construction crews, meeting with the occasional client, and car ownership seems to have become a permanent feature of his existence. In the absence of Giles and to the extent that they need one, he even seems to be serving as ad hoc patriarch to the Buffy family.

Buffy the Vampire Slayer, Beneath You, Xander, Dawn

Oh, I’m sure he misses Willow and Giles and being part of a couple, but he looks comfortable. Almost contented.

Everyone’s day gets underway. Buffy gets shown her cubicle and gets a pep talk from Robin Wood. He offers wisdom on the value of listening and she asks why he gave her the job. He doesn’t really answer her, and as soon as he moves on to his own duties, she hits the basement.

No luck, though. It’s a lot of rat encounters, a slammed door, and no Spike sightings.

Buffy the Vampire Slayer, Beneath You, Willow, Giles

Back in Westbury, Willow is moping about having to go back to Sunnydale. She has a long list of things she’s afraid of, the Hellmouth and reverting to veiny evil Willow being two of them. Really she’s just worried that her friends won’t want her back. Giles is supportive and reassuring, and packs her off, qualms despite.

Things have been moving rather slowly up to this point, haven’t they? Too much angst, not enough action! It must be time for the underground rumbler to make another appearance. From beneath us it devours a terrier—hurrah!—and goes after its owner. She freaks out and runs straight into Xander’s arms. Also hurrah? He seems to think so.

Buffy the Vampire Slayer, Beneath You, Xander, Dawn, Nancy

The woman’s name is Nancy, and Xander takes her to Chez Summers. He doesn’t entirely succeed at being suave, but she’s pretty rattled so he gets a pass. The tiny remnants of the Scooby gang are discussing the dog-eating tunnel grubber when Spike shows up. He’s cleaned up and articulate, and reveals that Buffy saw him at school.

This gives Dawn a chance to be angry, not least because Buffy has gone back to her secret-keeping ways. Also, it’s the first time anyone’s seen Spike since the rape attempt, so that’s awkward. As soon as the gang has their backs turned, Dawn makes a point of telling him that if he pulls it again, or anything else, she’ll set him on fire while he sleeps. This is, pretty much, the only thing she gets to do this episode.

Buffy the Vampire Slayer, Beneath You, Spike, Dawn

Articulate Spike tells Buffy he thinks some trouble’s a-brewing. He offers to help, but says it’s up to her. She agrees to take him out on a worm hunt while Xander drives Nancy home.

Processing relationship stuff while on patrol is a big thing for these two. (For everyone in the series, I know, but Spuffy make a real art of it. Mostly because if they’re not working, they’re engaged in adult sports.) Spike claims the source of his earlier raving insanity was last week’s ghosts in the school. Buffy’s freaked out by memories of the rape attempt, and tells him this is not the path to the two of them getting back together.

Buffy the Vampire Slayer, Beneath You, Spike

As for why he’s helping her? “I can be useful,” he says, “Because honestly I’ve got nothing better to do.”

I’m fighting for good because I’m bored. Buffy’s too smart to buy that for long.

By now, Xander and Nancy are flirting in the time-honored dysfunctional fashion of people still getting over horrible break-ups. She’s faintly like Anya, physically, I notice—the structure of their faces is similar. They’re saying goodnight when there’s a rumbling and the worm-thing, which is ginormous and has big teeth, comes after them.

Buffy the Vampire Slayer, Beneath You, Xander, Nancy

“Ronnie would love this,” Nancy says, and this leads into her telling Xander about her abusive ex, and how she foolishly wished he’d stop pursuing her.

“Wish?” All Xander’s alarm bells go off.

Okay, what she actually wished was that he’d turn into a worm, I’m thinking, because he obviously hasn’t stopped pursuing her.

Soon Xander, Buffy, Nancy are headed for the Bronze, where Anya is fishing for another destructo-wish from a lovely young woman in a red dress.

Did Anya turn Ronnie into a worm?  You betcha! Is she sorry? Not until she hears about the dead terrier. Nancy actually didn’t specify what kind of worm Ronnie should be, and so Anya went with the close relative Sluggoth demon. If you ever want your garden aerated, go Sluggoth. And give up using Red Wigglers (the Cadillac of worms!) as fishing bait. Imagine what you’d catch if you used one of these babies.

Nancy, formerly of Ron and Nancy, is barely catching this stuff about the Sluggoth. What she’s really marvelling about is all the failed couplings at the table: XandAnya, Spanya and Spuffy.

Buffy the Vampire Slayer, Beneath You, Spike, Anya

Anya then notices that Spike is crawling with soulfulness. She’s intrigued and apparently delighted on his behalf, and about to blab—when he punches her in the mouth. This does keep his secret. Obviously, he’s very dedicated to nobody learning the truth for at least another fifteen minutes.

For once, there’s a Scooby brawl at the Bronze and they aren’t saving anyone from anything. Anya flings Spike across the room, convincing Buffy that if anyone’s going to hit Spike, it ought to be her. She thumps him. He, meanwhile, makes a good pretence of being his old soulless bastard self. There’s a bit of a whiff of multiple personality disorder here: we’ve seen gibbering William, and now we’ve got a pre-Chip Spike villain persona on the go.

Buffy the Vampire Slayer, Beneath You, Spike

In the midst of it, Nancy gets disgusted—who wouldn’t?—and runs off.

This triggers a chase: the worm comes after her, Buffy goes after the demon, and Spike goes after Buffy. Xander, meanwhile, stays behind to try to talk Anya into reversing the spell.  She’s not overly keen. Halfrek’s intervention convinced her that she needs to up her vengeance game. She blames Xander for her switch back to Team Evil and he tells her she’s verging into excuse-making.

Outside the Bronze, Nancy almost becomes worm-food until Buffy swings in with a big rescue, Tarzan style. Then Spike comes rushing in with a steel bar, still being macho, to fight the monster. He’s really insistent about it, which is nice for Buffy, because when the Sluggoth turns back into a Ronnie-shaped naked human being, said steel bar goes through his right lung.

Ronnie is, I figure, kind of ahead here. Sure, he’s been punctured, perhaps fatally, but if he’d remained a Sluggoth, Buffy would surely have done him in. (Anya, naturally, gave in and did the right thing, which is why he transformed back. Way to not be Avenger of the Month, Anya.)

Buffy the Vampire Slayer, Beneath You, Xander, Anya

Still, skewering a human causes a huge guilt meltdown on Spike’s part. We see more of his personalities, and hear much babble. The First is referred to, so obliquely that nobody really has a chance to pick up on it. Buffy just watches in amazement while Ronnie flops and bleeds.

Again, I want to care more than I do. Just shut up and be Spike already, I’m thinking. He ends by singing the “From beneath you it devours” refrain and runs off to the nearest church.

Buffy cares, though, despite everything. She gets to go after him, too, because Xandanya show up and take over waiting on the ambulance with Ronnie detail. Xander and the local ambulance guys must be on a first name basis by now. As for Nancy, she’s still single and looks to be staying that way.

The Spuffy encounter in the church starts off bad and gets worse when Gibbering William reaches for his zipper and offers to service Buffy. This gets him thrown across the room for the second time in one hour.

“Have you completely lost your mind?” she asks.

“Well, yes. Where have you been all night?”

Buffy the Vampire Slayer, Beneath You, Spike

Okay! See, this version of mad Spike I could go for.

He says he tried to find his missing piece: “They put the spark in me and now all it does is burn.”

Oh. The penny drops. The soul thing. Why didn’t you just let Anya tell them, Spike?

Buffy asks why and he sort of kind of says, in a crazy-babbly way, a) to be the kind of guy who’d never try to rape her again; and b) more importantly, to have a chance at having his love returned. Then he drapes himself over the cross, and asks if they can rest as his body starts to smoke.

It’s poignant, with bonus semi-naked eye-candy for the James Marsters fans. It’s also yet another of those conversations where you have to feel terrible for Buffy—what do you do with something like that?

Buffy the Vampire Slayer, Beneath You

I know! Let’s ask Willow, since she’s on her way back and all. If, you know, we see her.

Next: Xander’s Mouth Saved the World!

 


A.M. Dellamonica has a book’s worth of fiction up here on Tor.com! Her ‘baby werewolf has two mommies,’ story, “The Cage,” made the Locus Recommended Reading List for 2010. There’s also “Among the Silvering Herd,” the first of a series of stories called The Gales. (Watch for the second of The Gales, “The Ugly Woman of Castello di Putti”!)

25 comments
Constance Sublette
1. Zorra
Was there a tongue in cheek or two in the writers room with that Ron and Nancy thang? Just for the heck of doing the thing, if so, because honestly there are no actual parallels to non-Ron and Nancy of California and D.C.

I never care for monster of the week episodes. At least I never care for the monster itself. There is the ever-mutating monster that is / was Spike, but Spike's different.

Love, C.
Sophist
2. Sophist
"Buffy swings in with a big rescue, Tarzan style."

I think the intent was Batman style -- Spike's last words to her in the Bronze were "Hey, is that it? A little touchy-feely, and then you're off to the Batpoles?"
Alyx Dellamonica
3. AMDellamonica
I think of the swinging in as more of a Tarzan thing, but you're right: Batman tracks with Spike's line.

I don't know what was up with the naming of Ron and Nancy.
Sophist
4. Dr. Thanatos
Like Freud said, sometimes a dream is only a dream, and sometimes the names have no significance...
Sophist
5. Sophist
I'm sure the writers were just having fun with the names, but there are 3 possible jokes: Ronald and Nancy Reagan; Nancy and Sluggo(th) (with a character in the comics named Spike); and Nancy Spungen (to go with Spike as Sid Vicious, even if he's really more like Billy Idol).
Sophist
6. Dr. Thanatos
@5 Ha! Nancy and Sluggo(th) never occurred to me but it makes perfect subtle sense (with Ron being a red herring)!
Sophist
7. Alex C.
"Beneath You" is for the most part a forgetable episode, with a little bit of important stuff mixed in here and there... until the final scene. Wow.

If it is at all possible for a generic and uneventful (by the Scoobies' standards) episode to be transformed into a great episode based solely on the power of the ending, then that is what the church scene is clearly aiming towards. Everything about it works perfectly, IMO - the lighting, the camera work, the music... The dialogue is spot-on, a great example of the impeccable character work that is one of the strengths of the show's 7th season at its best moments.

None of the above would have mattered though, if the actors hadn't knocked the ball clean out of the park. Sarah Michelle Gellar is wonderful, managing to express volumes of emotion simply by facial expression. But there's no doubt that this scene is owned by James Marsters, who turns in one of, if not the, most powerful bits of set-piece acting not just for the 7th season, but for the entire show.

Stunning, beautiful, haunting... this is, in my view close to being a perfect scene of television.
Sophist
8. Dianthus
I was thinking Sid & Nancy myself, since they're the inspiration for Spike & Dru. OTOH, the Western White House (Ron & Nancy Reagan) was in the Santa Ynez valley just north of Santa Barbara...er...Sunnydale.
I think Spike didn't want anyone to know b/c it was such a personal decision. Also, there's that whole "bug shagging crazy" thing.
I didn't really like the bit btwn Spike & Anya. It cheapened that oh-so-beautiful scene from Entropy.
It's the final scene that really elevates this ep, IMO. It's a tour-de-force for both actors. SMG has the harder bit, given that she's mostly just reacting. Spike obviously feels guilty - I never said he didn't, but, hey, knocking down strawmen is easy and fun. Still, he has aspirations.

Was trying to post a link to Buzzfeed; not having much luck. They recently ranked all the eps of BtVS. Beer Bad was last (boo!), Becoming I/II were first.
Emma Rosloff
9. emmarosloff
Agreed that this episode is pretty mediocre... except for that last scene. One of my favorites in the entire series. Oh, man. It just encapsulates Spike's arc... and so beautifully. His aching, his yearning. How much he's changed. How much farther he still has to go.

I didn't really care about the Sluggoth demon, or Nancy and Xander... the only thing that sparked my interest in this episode was Spike. And even then, he's kind of all over the place. I agree that Basement Spike is sort of irksome. We're all just sitting around waiting for him to get his groove back.

JM looks pretty damn good in blue though, I gotta say!
Sophist
10. Alex C.
It speaks to the power of the church scene that it's the only moment from this episode that I remembered after my first watch of S.7 (on a related note, it's a nice little touch that the title references "Fool For Love").

Still, as said above there's a bit of important stuff mixed in as well.

I enjoyed seeing Xander shut Anya down for blaming him for her current situation. There's no doubt that he treated her terribly in the 6th season (and has deservedly taken a lot of flak for it), but there comes a point where that line of argument just doesn't wash anymore. The set-up for Anya's big character moment of the season in "Selfless", is nicely proceeding apace.

Even more importantly, we get another touch on what is arguably the most developed theme of the entire season: Buffy confronting the limits of her power to save lives. Somewhat surprisingly, it wasn't until I watched this season for a second time that I realized just how often (in almost every episode) she has to confront the prospect of being unable to prevent the death of innocent victims, or just how important these moments are to her emotional character journey over the season, the growth in her relationship with Spike, and her final solution to the problem in "Chosen".

Season 7 might be, taken all in all, a bit of a mess, but it's the profusion of solid pieces of character work that make me love it despite its messiness.

Speaking of solid character work, a word has to be put in for the Buffy/Spike relationship as well. After what happened in "Seeing Red", the fact that the show was able to depict them slowly coming back together, until they were closer than they were in any of the previous seasons, and have their reconciliation feel emotionally realistic and organic, really is a great feat of storytelling, and one that again goes to show that the writers had not entirely run out of steam for the show's last season.

On the down side, there's this excellent point:
As soon as the gang has their backs turned, Dawn makes a point of telling him that if he pulls it again, or anything else, she’ll set him on fire while he sleeps. This is, pretty much, the only thing she gets to do this episode.
Dawn's lack of development is one of the grave faults for which the 7th season has to answer for. She is not the only character who got neglected by the writers, but her case is definitely the most egregious one. She wasn't completely ignored, but it doesn't help at all that the one episode which did focus on her point of view - "Potential" - was, in my view, easily the weakest episode in the entire season. She had a couple of good moments - her segment of "Conversations With Dead People" comes to mind - but they were few and far between.
Sophist
11. Alex C.
@8. Dianthus -

Great points.

I thought that the Buzzfeed ranking of the episodes was okay, although I'd take some issues with it. A number of the episodes from the first season probably shouldn't have been ranked as high as they were, in my view, and there were a whole bunch of episodes from the the later seasons that got badly underrated. Still, the top ten list is pretty good, although I would have replaced "The Wish" with "Passion". Definitely agree on "Becoming", "Once More With Feeling", and "The Body" as the three best episodes of the entire show.

Sarah Michelle Gellar actually responded to it on Twitter - saying she would rank "The Prom" higher. Haha!
Sophist
12. Dianthus
"Service the girl."
There's a double meaning in there.

The church/chapel scene is also the first time (but not the last) we're shown Christ-like imagery involving Spike. Whether it speaks to just his own personal redemption, or something more (redeeming his gender?), I'm not sure. This carries over into s5 of AtS (Hellbound), when we get an image of Spike with barbed-wire (!) wrapped around his face and head (like a crown of thorns).

@9. Get It Done is one of the better eps (IMO) of s7 for just that reason. Now if only we coulda gotten funny, playful, sexy Spike back for longer than 30 seconds....Sigh. Don't think I'll ever be able to entirely forgive Noxon for taking him away from us.
Spike is very pretty in blue (not fond of 3/4 length sleeves, tho'). The blue light in the chapel, too. Still, to see him in such obvious distress...I was thinking more hot cocoa w/mini marshmallows and snuggles at this point.
Sometimes I wrestle with my demons. Sometimes we just cuddle.

@11. Thank you.
Sophist
13. Alex C.
@12. Doubtless this is something we will have to agree to disagree on, but I'm glad that the writers made Spike sweat (and bleed) for his redemption, so to speak.

Seeing occaisonal flashes of the old "monster" Spike was nice, but by and large I thought it the right move with his character to let that monster be tamed, so that the man could be (re)born (an obvious pointer for the Christ imagery).

For this reason, as much as I think "Get It Done" is a good episode, my view is that it doesn't have a scratch on "Never Leave Me" or "Lies My Parents Told Me" in terms of development of the character.

The biggest mistake made with Spike's character, I think, was having him brought back for the 5th season of Angel. It didn't entirely undo the power of his sacrifice in "Chosen", but it did lessen it somewhat, and TBH I would have preferred it if he'd remained dead.
Alyx Dellamonica
14. AMDellamonica
A good resurrection is so satisfying, but in general we do bring characters back more often than we probably ought. There were some great post-Becoming stories about Angel, but his actual return grated on me. Buffy's return felt earned: they worked for it, hard, and they paid. Spike's... yeah. Could've done without it.
Sophist
15. Alex C.
@14. I agree 100%.
Chris Nelly
16. Aeryl
I always felt the blue shirt was supposed to be liken him to Superman. Spike makes a comment about putting on a costume, but it didn't work. It makes sense to me, that if Spike were trying to turn over a new leaf, he'd pick a superhero that almost Buffy's "type". The parallels between Clark Kent and Riley were obvious.
Sophist
17. Gillian Philip
I apologise in advance for bringing down the tone, but I really really want a Bidet of Evil.
Anthony Pero
18. anthonypero
Tangent.

Marsters was the only thing (until Illyria, at least) that made S5 of Angel watchable. The meta going on there was worth bringing Spike back for, IMO. Also, I thought Spike was the perfect choice to make Angel come to see the moral event horizons he was blindly walking through.

I unfortunately DON'T think the writers pulled it off. But I can see why they tried. The contrasts and parallels between Spike and Angel were never fully explored on Buffy, because they wouldn't hardly even refer to Angel.
Emma Rosloff
19. emmarosloff
@16: I can totally see the Superman analogy. I remember that line now, about him putting on a costume. To fake it until it was true. But of course it wasn't that easy.

@18: While I agree with the others that Spike's sacrifice at the end of Chosen would've been more impactful had he stayed dead, I was equally glad to spend the 5th and final season of Angel with him. The 3rd and 4th seasons of Angel were kind of abysmal (I recall a line of Gunn's when he goes on that mission with Electrogirl. "It's like I've been living in a turgid vampire soap opera" ... lol). Spike was a breath of muchly needed fresh air, IMO. I love that they explored the older/younger brother dynamic between him and Angel, to both dramatic and comedic effect, as well as addressing how each of them felt about being re-souled.

It was just fun to see reformed Spike outside the context of his relationship with Buffy. I enjoyed his interactions with Fred (and then, Illyria), and how he factored into the show's finale as well.

For me his reappearance was worth it just to get a little more Spike time in.
Sophist
20. Alex C.
@16. Aeryl -

I like the superhero costume idea, but I think that the main purpose of the blue shirt is to anticipate the blue moonlight that spills over him during the church scene.

The blue moonlight is a motif that pops up fairly regularly on the show, and it's usually (but not always) associated with the Slayer - it's even there behind her name in the title credits.

We get one of the most stunning examples a few episodes from now, in Buffy's segment of "Conversations With Dead People", accompanied with the main song of that episode, "Blue", which is almost worthy of an analysis post all on its own.
Alyx Dellamonica
21. AMDellamonica
I'll look forward to seeing that analysis in a few weeks, Alex!
Sophist
22. Alex C.
Thanks! I'll try not to disappoint.
Sophist
23. DE Julian
Something that I loved seeing - Xander's reaction when Nancy asks him if his "girlfriend" is always this "commanding" (heh).

Even at this later date, he's still carrying a bit of his old flame for her.
Sophist
24. Dianthus
@13. The writers were very much about "earning" a thing (whatever it might be). It's not just about 'seeing flashes of the old monster Spike.' Funny/Playful/Sexy is not monstrous. Just as s6 sucked the joy from the show, s7 sucked the joy from Spike's character. It makes sense in the first half of the season. Later on, less so.
@13 and @14. I could not disagree more strongly with you on Spike's moving over to AtS. He was meant to be the catalyst for Angel's integration, just as he was with Buffy (minus the mind-blowing sex). It simply wouldn't have made sense for Spike to stay dead when Angel and Buffy both came back. Angel went to Hell, Buffy got her Heaven, and Spike was in Limbo. Even then, he was helping. They wouldn't've been able to defeat the necromancer in Just Rewards w/o him (hell, it was his plan). Unfortunately, they left it for the s6 they never got.

@18. Testify! Spike keeps you honest. Some folks appreciate that more than others.

@19. Yes. Totally worth it.

Alyx, once the rewatch is over, I was thinking perhaps a discussion of larger themes? Seasonal overviews and such? Just a suggestion.
Sophist
25. Alex C.
@24. In response to this:
Just as s6 sucked the joy from the show, s7 sucked the joy from Spike's character.
At this risk of sounding like a broken record, I could not disagree more strongly with either part of this statement.

Season 6 did end up shedding a lot of the light-heartedness that characterized the earlier seasons of the show, but in this it was merely continuing a trend that had already began in the latter part of the 5th season. The show after that was a lot darker, but I don't think that the quality dropped at all, or at least not by much. Leaving aside the several poor episodes that unfortunately clog up the middle of the season, S.6 contains a hefty portion of the most wonderful television contained in the entire run of the show. TV doesn't have to be upbeat in order to be uplifting, in my opinion - watching the characters struggle through a dark period and emerge far stronger for it was, for me, a watching experience just as satisfying as anything that had come before.

As for the assertion that the 7th season "sucked the joy" from Spike's character, I can only say in response that this is not at all what I thought of it. I enjoyed Spike in S.7 more than in any other season except the 5th, for reasons that I will doubtless expound on at length when we get to episodes like "Never Leave Me", "Get It Done", "Lies My Parents Told Me", "Touched", and "Chosen". True, he didn't get as many playful/funny moments in this season as he did in most of the previous ones, but then, what character did? The fact that the writers were able to devise a succession of wonderfully realized character moments that acted as a perfect culmination for the growth of the character up to this point is more than enough to compensate, as far as I'm concerned.

If you didn't get any "joy" out of watching the character achieve the self-actualization that he'd been chasing since he became a cast regular, well, all I can say is that that's a pity. Agree to disagree.
It simply wouldn't have made sense for Spike to stay dead when Angel and Buffy both came back.
Actually, I think it would have made perfect sense for Spike to stay dead, for the simple reason that in my very firm opinion, any time a major character dies and then "gets better", there had better be a damn good reason for it and it had better be handled well, because otherwise I tend to get rather annoyed and think that the material is being cheapened.

Buffy gets away with being resurrected in my book because her death in "The Gift" still left important aspects of her character arc unfulfilled and because she and her friends spent the entire next season dealing with the (often ugly) consequences of bringing her back, which amongst other things preserved the integrity of her dying in the first place.

I thought at the time and still think that Angel's reappearance in Season 3 was deeply unfortunate, but I accept it mostly because it was necessary as a prelude to Angel. Even so, I would have been happy if he had never made another appearance on Buffy after "Faith, Hope, and Trick".

Spike's character had pretty much achieved perfect closure in "Chosen" I thought, and as a direct result I think that the writers never really figured out the problem of what to do with him when he moved over to Angel. They came up with some clever stuff, but it never really felt like it added much to the character, and I therefore think it was a mistake.

Subscribe to this thread

Receive notification by email when a new comment is added. You must be a registered user to subscribe to threads.
Post a comment