Characterization In The Buffyverse — ‘Buffy The Vampire Slayer’ Season 4, Episode 8

This is part of a bi-weekly series concerning the characterization of Buffyverse characters. The first installment in this series can be found here. Arguably the best place to begin reading this series is at the beginning, but that is up to each reader. As a reminder this column will cover major and some minor characters from the shows Buffy The Vampire Slayer (1997-2003) and Angel (1999-2004). Other Buffyverse media, such as the graphic novel Spike: Into The Light (2014) are not pertinent to this series. Also there will be no referencing real world events that direct relation to either show in this bi-weekly series.

This week: Spike (James Marsters) asks for help. Meanwhile, a spirit seeks revenge.

(Warning of spoilers from this point on!)

(Trigger Warnings for mentions of assault and stalking)

Buffy Summers (Sarah Michelle Gellar) sees her not-often-on-display ability to detect vampires apparently going off anytime Angel (David Boreanaz) is near. The only times it does not seem to work in this episode are when Spike appears begging for help and during the big battle. As far as character development goes, she now seems genuinely interested in Riley Finn (Marc Blucas). There are also subtle moments while preparing the dinner that infer she still feels the effects of her parents’ fighting and divorce. Unfortunately, when it comes down to her being a hero, this episode does her no favors.

Willow Rosenberg (Alyson Hannigan) presents the anti-colonization message in this episode. She also acts like a hypocrite during the battle — although she admits to it during the dinner. She also continues to push Buffy into a romance with Riley. Last, but not least, Willow acts like Spike’s attempt to assault her last episode (Season 4, Episode 7, ‘The Initiative’) was not traumatic. This is disturbing as she seems to deal with some traumas as if they are nothing and others as everything, such as Buffy’s second death (Season 5, Episode 22, ‘The Gift’).

Rupert Giles (Anthony Stewart Head) presents the pro-colonization message in this episode. He also acts slightly out of character when he readily helps Angel after the events of season 2. Although, Giles shows some reluctance and disdain about assisting him. Yet, these two factors mean he is a puppet of the plot’s needs in this episode. Thus, his real agency is only in stating his preferences for squelchy vegetables and killing Hus (Tod Thawley).

Riley Finn only appears in this episode for four reasons. The first is to create some false hope that Angel and Buffy might one day get back together via Angel being jealous of him. Secondary to this: it moves forward the romance between Buffy and Riley. He also serves as a reminder to viewers that The Initiative still has interest in Spike. Finally, there is the small amount of information from his dialogue that adds to his character.

Xander Harris (Nicholas Brendon) is mostly a plot device to illustrate the supernatural side of Hus. Yet, Xander gets a little development by acknowledging his positive feelings — and a negative opinion — toward Anya (Emma Caulfield Ford).

Anya acts as the supportive girlfriend to Xander. Unfortunately, there is not much characterization beyond that, at least nothing new.

Harmony Kendall (Mercedes McNab) experiences a small amount of growth in her self-confidence. Yet, her lack of follow-through when it comes to threatening Spike makes her seem like a plot device to push him toward Buffy.

Graham Miller (Bailey Chase) and Forrest Gates (Leonard Roberts) are in this episode for Riley to converse with. They, like Riley, also keep The Initiative interest in Spike alive.

Jamie (William Vogt) is the vampire at the beginning of the episode. He is only relevant as a plot point connecting this episode to the last episode of Angel via Allen Francis Doyle’s (Glenn Quinn) vision (Angel Season 1, Episode 7 ‘The Bachelor Party’).

Angel gets no positive character growth in this episode. He mainly just whines, is jealous of Riley, and stalks Buffy. Not to mention he states the lie that there is nothing he could do to be with Buffy. The fact he never talks about or looks into a way to lock the soul curse in place is what makes this a lie. Finally, the only difference he makes that fulfills Doyle’s vision is telling the Scoobies to get back to Giles’s and breaking the bicycle chains.

Hus is essentially the standard Native American stereotype one sees in media. Combine that with the tiny amount of screen time he has and one gets a one-dimensional villainous spirit.

Spike presents an uncaring argument about “history being history” so the Scoobies should stop “whining” about it. However, he also tries to apologize to Hus for historical wrongs. Thus, like Willow, he acts a bit hypocritical. Also, Spike comes off like a beggar finding safe harbor, and does so by lying about information he does not really have. Lastly, he ends up something like an analogy for any toxic ex who promises to change if one only lets them stay around.

Dean Guerrero (Mark Ankeny) and the curator (Margaret Easley) are plot devices to give a sense of menace to Hus. They have no characterization beyond this fact

Arguably, the inclusion of so many characters in this episode combines with the over-abundance of thematic elements to create a mess. Also, the mixture of pro and anti-colonization messages combines with the stereotyping (and all-white protagonists) to create a hypocritically racist ending to the episode.