Characterization In The Buffyverse — ‘Buffy The Vampire Slayer’ Season 5, Episode 15

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. Although 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) and her friends meet a robot at a party. Also, Ben Wilkinson (Charlie Weber) attempts to schedule a date.

(Warning of spoilers from this point on!)

(Trigger warning for mentions of stalking and gaslighting)

Buffy expresses disgust for Spike (James Marsters) in a way this writer feels is her protesting too much. On top of this, she seems to be mentally abusing herself. One can infer this from the way she talks about herself. She also tries too hard to make herself find humor in Ben’s terrible joke. The sudden romantic interest she has in him makes her a puppet of the plot since she is too trusting after past occurrences (Season 5, Episode 13, “Blood Ties”). Her relating to April (Shonda Farr) while the robot powers down is also because of the plot, along with the trauma of Buffy’s romantic history.

Warren Mears (Adam Busch) is a contemptible, egotistical robotics genius. He is debatably at his least toxic level here since he mostly just gaslights two women, and his robot, before Spike forces him to build the Buffybot (Sarah Michelle Gellar).

Rupert Giles (Anthony Stewart Head) unleashes his Ripper persona on Spike in a way that some fathers might. However, we never see him truly get input from Buffy on how she wishes to further address Spike’s behavior. Thus, one could argue Giles is being overprotective to a point that is almost toxic. Or, at least, if one assumes he is decisively speaking for Buffy and not going off her decision. It is also worth pointing out that Giles does not really affect any of the plot lines other than this one.

Spike not registering that April is a robot adds levity to the scene, yet it makes him appear unobservant. It is odd that he is so good at reading people, but cannot detect her artificiality. He is acting out of jealousy, though, when he hits on April in an apparently sleazy manner. His interaction with Buffy at the party, along with his appearance at the Magic Box, is stalking behavior. On the other side of this, Buffy does not firmly put a stop to his pursuit of her. While not leading him on she is allowing him to be on the edges of her life, which in turn gives him hope.

Xander Harris (Nicholas Brendon) is good in the opening scene as he gives Buffy some reassurance and a few compliments. His comment about the hug is a bit perverse if one thinks on both his personal history and the one they share. When it comes to his relationship, he acts like a jerk to Anya (Emma Caulfield Ford). Example: how he explains to her the creation of the trail mix patterns. See also the recurring figurative drooling over April in front of Anya.

Anya, meanwhile, seems very smart about business when discussing this topic with Tara (Amber Benson). Unfortunately, both come off as very dumb after April asks about Warren. This results in an otherwise good scene building both of them as characters turning into a satirical non-sequitur. In an obvious attempt to appear over her jealousy issues concerning Xander interacting with others, she displays an extremely tiny bit of growth. She definitely displays more commitment to her romantic relationship with Xander than he does.

Dawn Summers (Michelle Trachtenberg) acts much like any average teenage child might when it comes to reassuring a relative they care for about a date. Other than that, she exists in this episode for no overt reason.

Tara Maclay (Amber Benson) exhibits actual interest in her conversation with Anya. She also talks like Anya, responding in a way that is more simplistic regarding financial multiplication. When it comes to her sympathy for Warren, she appears to be doing so out of simple kindness for a stranger. Yet, there is subtext here — her surviving abuse would play a factor. Personally, this writer thinks she is projecting her experience with isolation onto Warren, thereby giving him undeserving consideration.

Joyce Summers (Kristine Sutherland) appears as the full realization of a person by showing insecurity, playful confidence, love for others, and an overall charming personality. Sadly, this is her last real appearance in the series.

Glory (Clare Kramer) and Ben Wilkinson continue to act as separate characters with differing personalities and overall goals. At the same time, Glory reacting with disappointment about the cancellation of Ben’s date lends additional credence to this writer’s theory. As a reminder: the hypothesis is that they are an allegory for transgender individuals. This possible metaphor may be mixed with dissociative identity disorder since they do not share memories. Thus, they are coming across as a bad analogy. As far as Ben goes, he cannot stop doing stupidly wrong things, such as trying to date Buffy. It suggests Ben is not just a puppet of the plot, but a character who, on the surface, appears like a nice guy while actually being a bad one.

Jinx (Troy T. Blendell), as always, is a minion to Glory. In this episode, he mansplains to Glory about Ben’s attempt to date the Slayer.

Katrina Silber (Amelinda Smith) is really just Warren’s girlfriend and unaware of Sunnydale’s weird happenings. She plays out the role of the significant other who discovers their love is not who they think they are.

April appears to those in denial of the supernatural as an odd, annoying, and violent person. To Buffy and the others, who are not denying the supernatural and have knowledge of robots, April is obviously a machine. Like several other fictional, mechanical beings, such as the computer program HAL 9000 (2001: A Space Odyssey [1968]), she follows her programming too stringently. Lastly, while some of these fictional robots ascend past their directives — Robocop (Robocop [1987]) springs to mind — April fails to do so.

The entirety of this episode is good when it comes to character interactions, moments, and growth (somewhat). Yet, it is mainly an episode that regurgitates Buffy’s doubts about herself and relationships while foreshadowing future events.