Characterization In The Buffyverse — ‘Buffy The Vampire Slayer’ Season 4, Episode 20

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 have a direct relation to either show in this bi-weekly series.

This week: Buffy Summers (Sarah Michelle Gellar) searches for Adam (George Hertzberg). Meanwhile, Spike (James Marsters) causes dissension among her friends.

(Warning of spoilers from this point on!)

Buffy acts as a mediator as she resolves the conflict between Angel (David Boreanaz) and Riley Finn (Marc Blucas). Though, to be fair, it would probably not be a conflict if she were more honest with Riley about the details of Angel’s curse. Of course, she is still under the false impression that a moment of “true happiness” involves sex with her for Angel to have it. Also, Angel and Riley refuse to properly communicate with each other. Thus, the probability of avoiding any conflict is minimal. This is especially true when one considers how Riley acts here and throughout future episodes after this season. Additionally, Angel is a possessive jerk with a sense of entitlement who Buffy absolutely indulges this week.

She also acts as a tracker/hunter when she is searching for Adam in the woods — but this goes back to her basic characterization as the hero/slayer, and the needs of the plot, than anything that would suggest growth.

Xander Harris (Nicholas Brendon), Rupert Giles (Anthony Stewart Head), and Willow Rosenberg (Alyson Hannigan) are all extremely gullible when it comes to Spike’s manipulations. They all end up easy marks because of the insecurities each of them is feeling this season. While each has a specific issue unique to their individual selves, they all apparently feel like they might be useless in Buffy’s eyes. Yet, their big blow-up argument is only partially Spike’s fault. He essentially lights the emotional fuses that they themselves are creating by not communicating with each other.

Riley acts irrationally jealous of Angel from the point of Xander’s poor explanation of the curse right through to the end of this episode. This bit of characterization is arguably the start of his turn to being, at best, a jerk in the future.

Anya’s (Emma Caulfield Ford) reaction to Spike’s lie about Xander going into the army displays both her protectiveness of Xander and her insecurity about their relationship. Other than this, she really only exists in this episode thanks to her proximity to Xander and to comment on Spike’s failure to point a weapon in a threatening way.

Angel really only shows up to renew the “will-they-won’t-they” tension with Buffy. Yes, he fights and competes with Riley over Buffy, but that is arguably more to fill out the episode’s run time than anything else.

Spike displays an extreme amount of luck with his lying since he is, apparently, horrible at coming up with lies. Being a plot device and the Scooby gang’s lack of proper communication are the only reasons for his success here.

Tara Maclay (Amber Benson) gets very little real growth despite it being debatable that she may be more confident. The only reasons she’s even here this week is so Willow has someone to talk to in certain scenes and, of course, by virtue of being her girlfriend.

Forrest Gates (Leonard Roberts) is overly angry and arrogant here, which leads to his death. While his argument with Buffy about Riley arguably reeks of both sexism and jealously, it is still hard to say whether it comes down to possible romantic feelings he had for Riley.

Colonel McNamara (Connor O’Farrell) seems to be against freedom of thought thanks to one of his comments to Mr. Ward (Bob Fimiani) concerning Riley. Although this is stereotypical of the military mindset, it may not be an entirely inaccurate one since some officers in various armies could share this outlook. Also his opinion of Buffy demonstrates he is, at best, sexist. This perspective will come to back to bite him next time they meet (Season 4, Episode 21, “Primeval”). McNamara also seems to want deniability of the mess that is The Initiative in case something goes very wrong. This is evident with a reply he gives Mr. Ward during their conversation. Thus, one could say that he worries more about upward-mobility in his career than the citizens of the world.

Adam is still a rather generic villain. The fact that he likes the specific The Beatles’s song “Helter-Skelter” from The White Album (1968) is simply foreshadowing his plan.

Mr. Ward and the nameless Lieutenant (Jade Carter) are stock characters in this episode. While both are rather extraneous here, Mr. Ward at least provides a more thorough connection to the overall plot despite being just a plot device.

This episode featues a lot of characters forced to interact in certain ways with each other. Thus, while there are character moments to go along with the plot progression, there is no real growth for any of them.