Characterization In The Buffyverse — ‘Buffy The Vampire Slayer’ Season 5, Episode 18

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) seeks knowledge through a ritual in the desert. Meanwhile, Spike (James Marsters) gets the Buffybot (also Gellar) from Warren Mears (Adam Busch).

(Warning of spoilers from this point on!)

(Trigger warnings for mentions of torture, homophobia, and toxic relationships)

Buffy shows a reasonable concern for the emotional well-being of her sister, Dawn Summers (Michelle Trachtenberg). Yet, Buffy becomes a puppet of the plot; she cannot protect Dawn because of the location requirement of a vision quest. This undoubtedly hurts her characterization since Glory (Clare Kramer) could easily abduct Dawn — or one of the Scoobies, — for information or as a demonic snack. Still, Buffy asking for help displays strength since one cannot care or protect others when in need of it themselves. When it comes to the cryptic answers Buffy is getting from the vision, one can argue that it is just her hearing what she is subconsciously expecting. Thus, her mounting fear and depression are telling her she wishes to die and be at peace. Also, her exhibiting disgust and then respect, along with the possibility of affection,  toward Spike is a progression that is mature and logical.

Spike is, in a way, gross for the whole robot ordeal. However, it is also a sign that he is kind of accepting that the real Buffy may never give him a chance. The robot is really no more than a object that a person might use to live out a fantasy of one type or another. Therefore, the other characters deriding him for it is a form of kink-shaming. When it comes to Spike asking the Buffybot not to talk about “programming”, viewers receive a hint of how he will come to detest the robot. Lastly, this moment — plus the one where he confesses to the real Buffy — are examples of his love for her.

Dawn serves as a living-red-herring-type MacGuffin here because of her status as The Key. Dawn’s appearance in the opening is to make viewers believe she will be Glory’s captive since Glory wants The Key. When Spike instead faces capture and torture, Dawn’s prior visible presence enhances the narrative’s tension. This emotional strain occurs from the possibility that Glory may learn Dawn’s mystical origin. Lastly, Dawn’s theft of Anya’s earrings seems to be the reason that Glory’s minion overlooks her as possibly being The Key.

Warren displays an obvious fear of Spike. The one scene with Warren, along with his last appearance (Season 5, Episode 15, “I Was Made to Love You”), sets up the idea that he may not appear again. Unfortunately, he is one of the main villains for the majority of the sixth season. As for his personality: he comes across as a genius for making yet another robot that, for the most part, actually works correctly. Still, his programming comes off as homophobic concerning Willow Rosenberg (Alyson Hannigan), plus it is very weak when it comes to social skills.

Rupert Giles (Anthony Stewart Head) exhibits some good paternal support for Buffy at the beginning of this episode. At the same time, he does not seem to act in a similar manner towards Dawn. The only exception: him asking Buffy how the two are handling the death of Joyce Summers (Kristine Sutherland) while assisting with a chore. He also fails as a mentor and surrogate parent by not aiding Buffy in finding a therapist for herself and Dawn who is knowledgeable about the supernatural. Instead, he appears to believe vague guidance from a spirit is enough help.

Xander Harris (Nicholas Brendon and Kelly Donovan), Anya (Emma Caulfield Ford), Tara Maclay (Amber Benson), and Willow all act like a collective of idiots in this episode. The plot needs them to be ignorant about the Buffybot acting similar to April (Shonda Farr). Despite the needs of the plot, they do get a few moments where they each stand out as individuals — most noticeably with Xander and Willow expressing their respective views about the possibility of the actual Buffy being with Spike. The occurrence of these moments displays the supportiveness of the two for Buffy, and how they are also toxic for her. As for Anya and Tara, they both get some funny bits of dialogue, but it is contestable whether they get anything that really develops them further.

The Buffybot is a mirror image of Buffy in terms of physical appearance. This is despite Spike suggesting that there might be a slight difference because of its artificial skin. Yet, it is also meta-textually opposite to Buffy since it reflects the contrary emotions of Buffy. For example: Buffy is exhibiting some signs of depression whereas the Buffybot demonstrates a cheerful demeanor. The bot is a gag character and, debatably, it being comedic helps distract from how disturbing its existence is on multiple levels.

Jinx (Troy T. Blendell) does not standout as much in this part of the season except for his facial features, voice, and apparent status as a leading minion. Thus, he could see replacement with another nameless minion in this episode’s plot without much problem.

Glory’s complaint about her connection to Benjamin Wilkinson (Charlie Weber) fits into this writer’s personal theory about them being a transgender metaphor.  Specifically: Glory senses her other identity is defying her ability to manage him. Arguably, this is in line with how body dysmorphia seems to make transgender individuals feel out of sorts. Torturing Spike makes little logical sense as a truth spell exists in canon (Season 4, Episode 9, “Something Blue”) and would be more reliable and expedient. Her actions, and the respective results, suggest she is noticeably better at causing visible harm via torture than Angelus (David Boreanaz) as seen in Season 2, Episode 22, “Becoming, Part Two”.

Murk (Todd Duffy) is apparently slow of wit when it comes to toadying to Glory while she is giving her new instructions regarding the search for The Key. Other than that detail, Murk — like fellow demon Jinx — could just see replacement by practically any of the other minions working for Glory.

Sineya the first Slayer (Sharon Ferguson) is the form the vision guide spirit chooses to communicate its messages to Buffy. Thus, it is probably best to say that there is no character development for the actual Sineya.

This episode moves several plot lines forward while also adding select amounts of development to characters. Unfortunately, it is also one that arguably mishandles certain characters. The most obvious cases are Dawn, Anya, and Tara because they are more background than supporting since their various actions do not definitively affect the narrative. While Spike and Buffy come to an understanding, it is not via open and honest communication but through actions of deceptions and errors. Thus, even the positive developments of this tale see the franchise’s typical blurring of the line between the toxic and the healthy.