Characterization In The Buffyverse — ‘Buffy The Vampire Slayer’ Season 5, Episode 7

This is part of a bi-weekly series concerning the characterization of Buffyverse characters. 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 direct relation to either show in this bi-weekly series. Though this series does reference things that have no direct relation to the show in order to examine things such as metaphors and literary analogues.

This week: Buffy Summers (Sarah Michelle Gellar) almost dies while patrolling. Fearing something is wrong, she asks Spike (James Marsters) about how he beat two past Slayers.

(Warning of spoilers from this point on!)

(Trigger warning for mentions of abuse)

Buffy is overly confident before her stabbing and this is the main reason she almost dies this time. There may even be a death wish when she is going to receive a final blow. Yet, it may also just be standard shock at the fact she is about to die. In either case, she does not have an obvious death wish until a certain point much later on (Season 5, Episode 22, “The Gift”). The rest of her time in the episode is spent listening to some version of Spike’s past and trying to deny truths he speaks, such as finding excitement from slaying (Season 3, Episode 3, “Faith, Hope & Trick”). Whether she actually learns what Halfrek — alias Cecily Adams (Kali Rocha) — says to Spike that Buffy in turn echoes is unknown. Thus, she may not mean to be as cruel as she ends up being toward him.

Riley Finn (Marc Blucas) is arguably only really here to save Buffy’s life when she figuratively freezes in battle due to injury. Yes, he helps aid with treating that injury and avenging it. But in taking vengeance, he acts incredibly reckless by doing so alone.

William Pratt — alias Spike (James Marsters) — as a human presents as braver, yet still socially inept; a Victorian era version of Jonathan Levinson (Danny Strong). While his comment to Drusilla (Juliet Landau) about his mom awaiting his return seems to be an excuse, it will turn out to be true (Season 7, Episode 17, “Lies My Parents Told Me”). These factors suggest that not becoming a vampire would lead to a very lonely life for William. His alterations to his outward personality, vocal quality, and attire are examples that he is able to choose to change. Whereas most vampires seem unable or at least unwilling to change beyond attire. Still he retains elements of his human persona in the form of his desires for acceptance and love alongside his sensitivity to rejection. He showcases both toxic masculinity and actual love during the final scene.

Harmony Kendall (Mercedes McNab) does not really have to be in this episode. However, she is in it to exposit possible viewer thoughts, and to dredge up a memory from Spike’s past.

Xander Harris (Nicholas Brendon), Anya (Emma Caulfield Ford), and Willow Rosenberg (Alyson Hannigan) are mostly comic relief in how indifferent they are on patrol with Riley. They also exist to remind viewers of how much weaker Riley is now versus last season, and to highlight his recklessness from his toxic masculinity.

Rupert Giles (Anthony Stewart Head) simply provides someone to research with and talk to before Buffy thinks to talk to Spike. There is a reminder of his fatherly feelings for her in what he says about Watchers’ reactions to Slayers’ inevitable fates — but this is only a reminder and not actual development.

Dawn Summers (Michelle Trachtenberg) comes across as an actual fourteen-year-old younger sibling might in her interactions with Buffy. There is also the development of Dawn’s personality being a little unusual with the mention of weird “nail polish experiments” and her fascination with Buffy’s wound.

Joyce Summers (Kristine Sutherland) seems too ready to believe Dawn’s “Nail Polish” excuse. One could argue that she should be less gullible after learning about Buffy’s supernatural nature and activities. Another side of this debate: she may know about the CATscan and that is distracting her. Personally, this writer believes it could be a mix of both. As for how she goes about preparing for the possibility of cancer, we can only speculate beyond what little things are on display, such as her packing and trying to keep a brave face on.

Drusilla shows loving passion and a manipulative despair when it comes to Spike. The majority of the former occurs during the Boxer Rebellion. Then the latter feeling is present during the flashback to 1998. This despair is manipulative because she is trying to put her cheating on Spike’s past and future actions with Buffy. Notably, she also spouts some actual nonsense that apparently has nothing to do with anything in two of the flashbacks, therefore reinforcing the fact she is insane.

Darla (Julie Benz) does not have much of substance happen to — or because of — her. All she really expresses is a little expositional dialogue on the obvious fight and a disregard of Drusilla.

Xin Rong (Ming Liu) has a traditional look that most viewers might expect from a Slayer of her time and locale. Though it is personally unknown to this writer if her clothes are, to any extent, historically acceptable. She fights in a very rigid yet graceful manner that is unlike Buffy, Faith Lehane (Eliza Dushku), or Kendra Young (Bianca Lawson). Though the latter of these three modern day slayers displays rigidness, it does not seem to be as evident as Xin Rong’s. Besides Xin Rong’s last message suggesting she is sorry to die, it appears she is also very ready for death.

Nikki Wood (April Weeden) seems like she might haunt the punk clubs of the 1970s a during a lot of her patrols since she is wearing punk style clothes. Her demeanor and manner of fighting suggests she is fierce, possibly brash, and somewhat over life as a Slayer.

Angelus (David Boreanaz) appears as a leader of the whirlwind and seems to absolutely detest Spike and his philosophy of being overtly violent. He also appears post receiving his curse and may be afraid of or for Spike after learning of Xin Rong’s death.

Halfrek will see a reveal of being a vengeance demon in the future (Season 6, Episode 14 “Older and Far Away”). Yet, in this episode she is just a person going by the name Cecily Adams who acts as an uncaring society type of the Victorian era of England.

Charles (Matthew Lang) is, along with a female partygoer (Katharine Leonard) and another male partygoer (Edward Fletcher), one of the main abusive antagonists at the end of William Pratt’s life as a human. All three come off as opportunistic when it comes to pouncing on a chance to abuse William.

Chaos Demon (Ken Feinberg) is a rather gross looking demon that matches Spike’s previous description (Season 3, Episode 8, “Lover’s Walk). This one comes across like a reasonable individual at first, but while exiting his scene, he gives an air-kiss to Drusilla and this makes him seem like a bit of a jerk.

The stabbing vampire (Chris Daniels) is a nobody who almost gets a reputation for killing Buffy. Since he can’t finish the job — and Riley blows him up — he remains a nobody

This episode’s narrative features the themes of denial and acceptance. These are themes both Buffy and Spike face throughout. Thus, events play out like a play with these two as leads. The rest of the characters are rather unimportant except to give the pair interactions that show them dealing with the themes. One example: Spike facing rejection by Halfrek and, shortly afterwards, accepting Drusilla’s offer. Another is Buffy denying she will ever wish for death then changing her mind about the possibility when hearing about the CATscan.