Characterization In The Buffyverse — ‘Buffy The Vampire Slayer’ Season 5, Episode 5

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 goes through with a magic spell that has trippy side-effects. Meanwhile, Glory (Clare Kramer) introduces herself to Sunnydale’s citizens.

(Warning of spoilers from this point on!)

(Trigger warnings for mentions of abuse)

Buffy Summers (Sarah Michelle Gellar) is rather cheery while bantering when slaying at the beginning of this episode. This isn’t unusual for her, but this is one of the last times viewers will see her this cheery while slaying this season. Her desire to do anything in relation to her mom’s, Joyce Summers (Kristine Sutherland), health problem is understandable. Buffy is a person of action and she is feeling helpless without a plan or a way to assist. In turn, she treats her initial knowledge of Dawn Summers (Michelle Trachtenberg) mystical nature with violent suspicion. There is also a seeming expansion of her slayer senses with her ability to properly concentrate for the trance spell (Season 1, Episode 1, “Welcome to the Hellmouth”).

Spike (James Marsters) displays some change in characterization thanks to his recent dream (Season 5, Episode 4, “Out of My Mind”). Though his immature verbal reaction, chain-smoking, and stalking behavior only really serve to remind viewers of his revelation.

Anya (Emma Caulfield Ford) provides knowledge that is both expository and expands the lore about her life and the universe. She also mentions needing a job before starting work at the Magic Box, which leads to a question about where she was getting money previously.

Xander Harris (Nicholas Brendon) attempts to be a supportive boyfriend to Anya with his comments regarding retail service. Yet, the way he goes about doing this is arguably equivalent to belittling her in public.

Willow Rosenberg (Alyson Hannigan) has little to do in this episode. Still, there is a hint of her and Anya’s dislike for each other when Willow creates the wrapping paper mess.

Rupert Giles (Anthony Stewart Head) becomes a bit of gag character thanks to the wizard costume and feeling out of his depth with the rush of customers. The costume hearkens back to his prior Halloween costume (Season 4, Episode 4, “Fear, Itself”). Both seem to be part of a metaphor about people losing a coolness factor as they age. Additionally, the stereotypical wizard costume may be a joke about Giles being a magic user and mentor like the Merlin of legend (Merlin [1195-1210] by poet Robert de Boron). While the rush of customers emotionally overwhelming him is definitely a joke, it also suggests that he is not too knowledgeable about working and managing retail. It also serves as a reversal of his experience at the Sunnydale High library.

Dawn acts like the stereotypical annoying sibling throughout this episode. Although she only intentionally does so when Buffy is trying to activate the trance spell. It is worth mentioning that her clumsiness is reminiscent of both a typical teenager and Buffy in the past (Season 4, Episode 7, “The Initiative”). Not telling on Buffy for hurting her suggests either she thinks magic is more at fault for Buffy’s behavior or the injury isn’t severe enough. Nevertheless, this moment of abuse should get a more thorough exploration — and a better resolution — that it, unfortunately, never does. As for the scene where Dawn gets her mom tea while seeming sinister: it is more a plot contrivance to draw out suspense than any real characterization.

Joyce is still a pretty generic TV mom. Yet, if one looks at how she is not dealing with her health mystery, one could argue that she is a foolish one.

Benjamin Wilkinson (Charlie Weber) and Glory are two different characters. Nevertheless, they technically exist in the same physical space with their respective selves switching out. Because of their differing genders, their psychological war against each other, and the mystical body swapping, they arguably are a metaphor for transgender individuals. The explanation of this theory will see expansion as the season progresses. However, in this episode they are seemingly completely separate from each other. In Ben’s case, he appears to be a prospective future love interest for Buffy. Glory comes across as a mysterious, air-headed, powerhouse villain.

The old and young monks (John Sarkisian and Pasha D. Lychnikoff) along with their fellow monk (Ravil Isyanov) are cannon fodder for Glory’s introduction. While the lattermost Monk exhibits the character trait of conviction, he is still just a plot device to give information to Buffy and the audience.

Riley Finn (Marc Blucas) continues to display toxic masculinity. One example: a lack of confidence when hearing Dawn quote one of Buffy’s opinions of him. Initially, he seems to handle it well by going to work out in order to deal with his feelings. Yet, this could be seen as immature since both he and Buffy are literally running away to avoid conflict. When they do discuss the subject, he first throws away her figurative olive branch that is assisting with the trance ritual. Next, they make a verbal agreement without discussing the underlying issues. Lastly, Riley seems to act emotionally distant via the kiss on the head which one can interpret as infantilizing Buffy.

The two night watchmen (James Wellington and Paul Hayes) are among Glory’s first victims in Sunnydale. While both serve little narrative purpose as characters, they each further the season’s plot line … albeit one will do more later (Season 5, Episode 9, “Listening To Fear”).

This episode has a lot more characterization and character moments than a lot of previous installments. The only odd parts are the questions that still surround the monks’ choice to make Dawn. One such question: why could they not simply send Glory home? Also, why not give Buffy at least some knowledge about the key along with the memories? Finally, are the monks really good guys, or are they servants of one the other hell gods from Glory’s dimension?