En tombant sur un boxset de Buffy, j’ai voulu regarder les commentaires et je suis tombé sur ça :
[spoiler]Let’s face it, the only people who are going to buy this boxset are the hardcore BTVS fans who believe that Buffy herself is some kind of great female role model and that the whole series is brilliant from beginning to end.
If you love the series, then the chances are that you’ve already bought this boxset. But having spent the last few days rewatching the programme for the Hell of it, I just need to explain why so many people like me will love this series one moment and then utterly despise it the next.
If you truly want to understand BTVS, then you must first attempt to understand its creator Joss Whedon
I once heard Joss Whedon say that he wrote the original BTVS screenplay in order to express his own love/hate relationship with 70’s and 80’s slasher movies in which the sexy blonde cheerleader is always hacked to ribbons by the psycho. And so as well as believing this is how he must have felt about the TV series, the term `love/hate’ also sums up my attitude towards the first five series of the programme.
The episodes « Lie to Me, » « Doppelgangland, » « Pangs, » « Something Blue, » « Hush » and « The Body » are all true classics. And on top of this, BTVS contains some of the best lines ever written and performed on screen.
« It was like the heimlich…with stripes. »
« Don’t warn the tadpoles! »
And
« Oh Yes! Its Time Will Come! »
These are just three of the great comedy moments that have Teresa and I both roaring with laughter. But on the flip side of that coin, many of the plot lines and the characters themselves make us both long to smash the Television with anger and disgust.
Buffy the Vampire `WHINGER’ is so far from being a strong female role model that she couldn’t find it with a map and a compass.
She whines and cries and complains about EVERYTHING!
« What if her daddy doesn’t love her? What if Angel finds Faith or women from the 18th century more attractive? What if she fails? What if she succeeds? » And above all…« WHY CAN’T I JUST HAVE A NORMAL LIFE! »
In the episode of series 5 when Toth splits Xander into his positive and negative selves and Buffy asks Riley « Don’t You Just Wish? » Teresa and I scream `NOOO!’ and start ranting about her whiney, pathetic cowardice.
Of course, in `Helpless,’ (series 3) when she actually loses her powers, she whines and cries and complains about the fact that she’s not a slayer anymore. And more than anything, I think that it’s this cognitive duality which lies at the heart of the programme.
Joss Whedon loved and hated the series in equal measure. (Not that his contract with 20th Century Fox will ever let him say so.) And so as a result, this petty whining and « I want to, but I don’t want to » attitude seems to pervade the entire series.
Almost every main Character is a mass of contradictions and indecisions who, as soon as they get what they want, decide that they want something else instead.
As well as being a fully trained Watcher for example, in the seventies, Giles was also a violent thug; a skill which would have come in very handy if only he could have moved past the guilt and realised that keeping the death rate down was far more important than being a stereotypical English father-figure to Buffy.
Also, as a side note to the « Poncy English » stereotype, notice that when Giles became a 3 dimensional character, he was replaced by Wesley; a cardboard cut-out who’s only purpose was to make Giles look good in comparison.
He was a human dumping ground for cheap, stereotyped humour, as well as for all of Buffy and Gile’s hatred and resentment towards the Watcher’s Council. And of course, the title of `Walking Punching Bag’ also applies to Cordillia Chase.
Cordillia’s ‹ Character › also never developed until she was transferred to Angel. Her only purpose aside from being the butt jokes and delivering a string of tactless one liners was to be the symbol of Normality' which Buffy both reviled and craved. And during series 2 and 3, she was also Xander's only hope of Copping a feel’ whilst his hormones waited for Buffy.
Sometimes when I reflect on BTVS and Angel, I lament on the fact that Cordillia and Wesley both grew and blossomed into greater heroes than Buffy could ever have been, but that the prats in Sunnydale would always remember them as one dimensional fools.
And Willow…Oh Willow, the living definition of fear.
She was a woman of great beauty and potential who could have shone like the Morning star. But who tragically, from the very beginning of the first episode to the very end of the seventh, was plagued by fear, uncertainty and doubt.
Willow was the only character I ever truly loved, less for who she was then for who she could have been. But as the young and female reflection of Joss Whedon’s unconscious mind, fear was all that she ever was and all that she was ever going to be.
She played the piano, unless it was in front of people. She loved Xander for the first three series, but never did anything about it.
Even when she was with Oz, Willow still cried about the fact that Xander had sex with Faith.
She was a powerful Witch, unless lives were at stake and she whimpered, « Let’s have another hope. »
She lurched from one emotional crutch to another, always basing her self-perception on her fear of what other’s might think.
At first, she sat pining after Xander, placing all of her hopes and her dreams on the fantasy that they would fall in love and get married. But in the end, she never actually did anything to achieve it in case it might shatter the illusion.
Next, Oz came along and she made her first tentative steps towards love and happiness, still clinging more to the dream and the fantasy than to the reality itself.
When Willow and Xander began their illicit affair in series 3, I sincerely believe that whilst Xander loved Buffy and was desperate to find a sure-fire way to make Cordillia hate him, Willow still wasn’t sure who she wanted, was terrified of committing to Oz, but was also terrified of leaving him.
Then of course in series four, the decisive moment came. Oz left to protect Willow from the vicious killer within him. Willow’s emotional crutch was ripped from her in an instant and she collapsed into a tear stained heap. So for the rest of the series, she searched around for solace in magic, in beer, and then at last, in Tara, because what she needed more than anything else was `Someone who made her feel wonderful.’
I will return to Willow’s utter lack of self-esteem and her dependence on the views of others in a minute. But first…the `Lesbian’ issue.
My girlfriend herself is completely bi-sexual, and agrees with me that Willow’s sudden switch from Straight' to Lesbian’ is ridiculous to the point of being insulting.
We believe that just as the Character of Spike was first envisioned because of Xander’s line « There’s no need to drive a railroad spike through my head, » the concept of Willow’s shifting sexuality was first triggered by `Doppelgangland.’
Bare in mind of course that ALL amoral and selfish female characters on American Television in recent decades have been bi-sexual. In fact, as far as the American networks are concerned, all bi-sexual female characters ARE cruel and sadistic, and all cruel and sadistic female characters ARE bi-sexual.
It is one of the great formulaic clichés of modern Pseudo-Christian moralising; the character’s bi-sexuality is endemic of the sadistic evil, and visa versa. And so just as the clichéd villain of the past was always a camp, moustache twirling, white cat stroking ponce, the modern villainess is both sexually appealing and morally repulsive as she licks her victim’s neck.
Aside from the bigoted homophobia of half of America, this is of course also the main reason why MALE bi-sexuality is never even mentioned on American Television.
In true Logical-Positivist style, it doesn’t exist because it doesn’t fit.
The writers cannot attach a label to a bi-sexual male character, and so he’s either gay or straight. And of course, one clichéd label which fits witchcraft like a glove is the idea that the witch herself is a LESBIAN.
As I’ve already explained, as far as the Networks are concerned to be bi-sexual is to be evil and to be evil is to be bisexual. And so because Willow was intrinsically and fundamentally good, she simply had to wake up one morning and declare, « Besides, Gay Now. »
Of course, the fact that Willow and Tara were both witches, leading to some rage inducing homo-erotic spellcasting RUBBISH was purely incidental. On the contrary, it was Willow’s life-long quest to find a box or a label that she didn’t fear which led to this declaration.
(Notice the apologising terror with which she back-peddled after saying that she thought Dracula was sexy.)
For the first two series after she first appeared, Amber Benson’s character held the unbelievable title of « Even More Pathetic Than Willow. » And this of course was the reason why Willow was so drawn to her in the first place.
Robbed of her emotional crutch after Seth Green left the series, Willow found in Tara that which she’d been searching for all her life, a person who saw her as a wonderful and special hero; a whimpering, simpering coward who admired Willow, not for what she could have been, but for who she was.
In spite of this emotional crutch however, knowing that Tara would worship and adore her no matter what might happen, Willow also longed to mask her fears and her uncertainties from the rest of the world.
To this end, magic became yet another crutch leading to her addiction in series 6, an addiction which she only chose to break because it cost her the crutch of her relationship with Tara. And even her choice of clothes was designed to make her LOOK more confident than she really was. (Primeval, Series 4: « Why are you still in costume? »)
At the end of the day, Willow didn’t actually love Tara, just as she never truly loved Xander or Oz. And after Warren accidentally shoots Tara at the end of series 6, this becomes blindingly obvious since Willow isn’t actually avenging the murder, but avenging the fact that her latest crutch has been taken away.
« The only time when I was wonderful was when she looked at me. »
When Glory feeds on Tara’s mind in series 5 as well, it’s the fact that her crutch has been taken away that fills Willow with blinding rage.
The whole world is on the brink of destruction, and yet Willow’s only concern was getting Tara back so that she could feel `Wonderful’ again.
Even when Tara returned to normal however, tragedy struck yet again when Buffy was killed and she was effectively appointed the group’s leader.
After all, she might have been incredibly powerful, but she was still more terrified of success than she was of failure.
She slaughtered a fawn because she NEEDED Buffy back. And when she spoke of Buffy being trapped in Hell, she was actually describing herself.
She lived in constant terror of mistakes, knowing that every life she saved would make her feel ten times as guilty when somebody died because of her. And after complaining in series 4 that « We’re not just your sidekicks, » she feared and hated the responsibility of command. And so she ripped Buffy out of Heaven, just so that she could take a back seat and be worshipped by Tara once again.
Only the most deluded fan would ever deny that BTVS was supposed to conclude at the end of series 5.
It was over, Buffy was dead, « She Saved the World a Lot. »
Indeed, the entire of series 6 is Joss Whedon lamenting the fact that she had been dragged from her grave because the programme was still profitable and the Network demanded another series.
The song « Going Through the Motions » sums up the sixth series for me. And even the musical episode itself was just Joss Whedon’s attempt to have a little fun amongst the grinding monotony.
Also, the next time that you watch the Mental Hospital' episode, realise that it's the story of Joss Whedon struggling to break free before being sucked back in to Hell.’ And the during the brief period of freedom when Buffy comes back to reality, the psychiatrist should actually say, « Buffy’s sister, the network forced him to write her into the series to add a `Family Element’ to the show. »
At the end of the day, Dawn was an irritating little prat who’s only purpose was to replace Xander as the one got into trouble and waited to be saved; forcing responsibility onto Buffy after Joyce’s tragic death.
(Also notice how Anthony Stewart Head leaves the series because the pseudo-parent having a pseudo-parent would be too confusing.)
Anya was a replacement for Cordillia; another completely self involved and tactless ‹ walking punch bag › and dumping ground for Xander’s unrequited love. And surprise surprise, when her character developed, she turned out to be yet another whimpering coward who was lurching from one crutch to the next.
Episode after episode, plot line after plot line, this duality crops up time and time again. But of course, there was one constant thread in the writing which was entirely predictable and consistent. Almost every eligible male character was in love with Buffy. And therefore, they were all hopelessly trapped in Angel’s shadow.
When push came to shove, the only reason that Xander hung around the library was the fact that he was desperate to get inside Buffy’s knickers.
His violent, jealous hatred of ALL Male competition, from Owen, to Billy Fordham to Angel when he thought that he was human often makes me wonder why Buffy didn’t just break his arm and scream, « I DON’T LOVE YOU! I LOVE ANGEL! GET OVER IT! » And his vindictive desire to watch Angel die was the very definition of a spite.
« Kick his Ass. »
Towards the end of series 3 however before Angel moves to LA, Xander realises that constant ‹ Angel Bashing › isn’t getting him any closer to Buffy’s bedroom. But even though he tries to play the benevolent hero rising above petty jealousy, it was just another pathetic attempt to try and get Buffy to love him.
Sticking with Buffy and relationships however, this just seems to be another reason for Buffy `The All-Powerful Slayer’ to pout and whine.
« Why doesn’t Parker love me? Why did Riley leave me? »
Again, why didn’t someone just scream in her ear, « YOU LOVE ANGEL, BUT YOU CAN’T BE TOGETHER AND SO NOBODY ELSE HAS A PRAYER! »
Of course, Parker was just comfort food. And the only reason why Buffy became so obsessed with the womanising prat was that she was riddled with self-doubt.
Realising that being the slayer would mean giving up her Normal' life, she became petrified that all men would be scared away by this Hideous, Vampire Slaying Monster.’
Indeed, throughout Series 4 and 5, Buffy becomes obsessed with the idea that being the Slayer means becoming a demon. But again, this obsession is based solely on her insane desire to tap-dance on the imaginary line between ‹ Being the Slayer › and `Having a Normal Life.’
She wanted both, and her indecision meant that she couldn’t ever truly have either. And so in many ways, Buffy’s relationship with Riley was doomed before they ever even met.
Buffy never loved Riley. And to his credit, he accepted that simple truth.
More than just being the Rebound Guy' however, Riley was a badge of Normality,’ a symbol to herself and to the world that « I am a normal person. See, I have a normal life. »
Riley complained, and rightly so, that Buffy never `let him in;’ that she was closed off and never shared her emotions. But although Buffy was terrified that this was due to her being the Slayer, it was her refusal to accept it that caused the emotional isolation.
Buffy tried to create a clear distinction in her mind between her normal life and her responsibilities, between ‹ Relaxing › with Riley and, slaying looking after her mother and looking after dawn.
She didn’t try to keep Riley from patrolling because it was dangerous. On the contrary, she wanted to keep him in that sterile little bubble where she went to unwind after a long day or night.
Yes, she still loved Angel. She felt abandoned by him, by her dad and even by Parker. But having decided long ago that being the Slayer and having responsibilities meant loneliness, misery and pain, she kept her worlds separate and treated Riley like an object, never crying unless she was alone. And far from not wanting to bruise his ego by showing him how powerful she really was, (« I held back a little ») Buffy was struggling to keep her Slaying' separate from her Normal Life’ by pretending to be just another girl.
A strong female role model? I think not.
Even Spike’s obsession/love of Buffy was haunted by the fact that she still loved Angel and was desperate to keep everything separate and detached. And the only reason that Buffy eventually loved Spike in return was because he was a barely adequate substitute for Angel.
Of course, this led to Spike’s hatred and petty desire for revenge in Series 5 of `Angel.’ Once again, the only reason why he wanted to fulfil the Shanshu prophecy was to take something away from Angel and become human to get back inside Buffy’s knickers.
For the first three series before he moved to Los Angeles and grew into a Vampire of his own, Angel was a walking neon sign which read `Buffy, You’re Never Going to Have a Normal Life.’
She was hopelessly in love with a Vampire, which meant that even if it wasn’t for the curse, she could never have a normal relationship with him, or with anyone else for that matter.
Oh, and by the way, it was the happiness that Angel felt `AFTER’ having sex with Buffy as he fell asleep beside her that caused him to lose his soul, not the sexual intercourse itself.
Oz on the other hand was little more than a stepping stone for Willow from her infatuation with Xander to her infatuation with Tara.
And as for Faith? At first, she was the exciting hope of Buffy `Going to Disneyland.’
Yes, the demons would be slain, AND she could have a `Normal Life.’ But of course, Faith was yet another embodiment of dualism and self doubt.
Faith was a Slayer, but that was all that she was. And so whilst Buffy was whining about wanting a `Normal Life,’ Faith grew increasingly resentful of Buffy’s relative happiness, and infuriated by the fact that she had so little whilst Buffy wanted even more.
Was this perhaps a potent metaphor for the arrogant Westerners complaining that they only have two cars whilst millions are starving to death across the entire globe? I wonder.
Finally of course, this review wouldn’t be complete unless I at least mentioned series 7; a time of great excitement for Joss Whedon as he realised that the end was finally nigh.
« Okay, killing Buffy didn’t work. What about if we annihilate the entire blinking town! »
I must admit that by this point I had long since lost interest. The sexist girlpower rubbish at the end made my girlfriend want to scream. And by the way, SPIKE was the hero. Buffy and her band of fellow Vampire Whingers did nothing except fight and die. And why was it that the most irritating Slayers were the ones who survived?
In short, BTVS is a deeply fascinating and enthralling study of power and intent.
Good and Evil are a choice. But at the end of the day, power is nothing if you’re too much of a coward to actually USE it! And if only Buffy had put half as much effort into slaying as she did into whining, then the blinking Vampires would be almost extinct by now![/spoiler]
Y a vraiment des dérangés pour écrire un pavé comme ça sur un simple commentaire chez Amazon :paf:
