No other show would be able to get away with something as far-flung as "The Puppet Show," in which it is suspected that a talent show entrant's dummy might lead a murderous life of its own when other kids start turning up dead backstage. It sounds like the plot of an R.L. Stine novel, but the typically clever execution results in a funny, chilling, and poignant hour of television.
The writers can't get away with every idea, though. When Xander, struggling with his attraction to Buffy and oblivious of Willow's love for him, crushes on a substitute teacher who turns out to be a giant preying mantis ("Teacher's Pet"), it's awkward and uncomfortable, though mostly for the viewer. Similarly, when Willow finally finds a boy who likes her over the Internet, he turns out to be a demon trapped in the Web ("I Robot, You Jane"), and it's so silly you're hardly surprised when he turns up as a Power Rangers-worthy robot at the end (the special effects on the show are always low budget, but they're not always that bad). Still, even the weaker episodes contain moments of beauty; there's not a single script that doesn't include at least one memorable character bit, not to mention half a dozen quotable lines. One of Whedon's strongest suits is his dialogue, and the characters constantly say things in creative and unexpected ways, which fits in perfectly with the series' modus operandi.
As the season winds to a close, we get two episodes that point the way to something deeper and better. The first is "Nightmares," in which an abused little boy's psyche frees itself from his comatose body to unleash everyone's worst nightmares. Xander is chased by a knife-wielding Nazi clown, Willow is forced to sing on stage, Giles loses the ability to read... and Buffy becomes a vampire. As madness consumes Sunnydale — even more so than usual! — the series delivers one of its brightest and most memorable early explorations of the human subconscious, a theme which will be returned to in later years with even more startling precision.
And then there's "Prophecy Girl," which begins the grand Buffy tradition of absolutely mind-blowing season finales (every single one is a classic). Before "Prophecy Girl," it would be forgivable if ill-advised for someone to dismiss the show as juvenilia, but after "Prophecy Girl" it is inexcusable. The entire season has been building up to the Master's liberation and the subsequent apocalypse, and early on in "Prophecy Girl" we're told of a cat who has given birth to a litter of snakes and other dire warning signs. Blood runs from the school's bathroom sinks. When Giles discovers a prophecy saying that the Master will rise and Buffy will die, we're given the big emotional payoff from his and Buffy's very first confrontation at the beginning of the season. It's an utterly wrenching scene that ends with a teary-eyed Buffy pleading, "Giles, I'm 16 years old. I don't wanna die."
Article comments
1 - Wesley Mead
Great article man, a worthy tribute to the formative season of a genuine TV gem.
2 - niun
I have the full Buffy set and it is boxed bliss! hours, days, weeks and years of fun and sharp wit to memorize for later use. buy it, own it, love it!!!
3 - Mike M
Fantastic review on awesome television series that has lasting impact on the industry. Keep up good work, dude!