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"we're not good friends. most of us never found the time to get to know you. but that doesn't mean we haven't noticed you. (...) but whenever there was a problem or something creepy happened, you seemed to show up and stop it. most of the people here have been saved by you or helped by you at one time or another. we're proud to say that the class of '99 has the lowest mortality rate of any graduating class in sunnydale history. and we know at least part of that is because of you. so the senior class offers its thanks and gives you, um, uh, this. it's from all of us. and it has written here, "buffy summers, class protector".
unhappy side effect of "morally ambiguous" being treated as the pinnacle of writing is that you will often be made to experience what a not so talented writer with big aspirations thinks is morally ambiguous
I think a hurdle in the Ktvs universe would be coming up with excuses as to why Kendra wouldn't help with big threats on Btvs like Glory or the first and vice versa. Its pretty easy to dismiss Angel I think because well at least during his time on Btvs he's not really that effective at helping. (He's more likely to be the one needing saving; see whats my line for instance, which I'm not complaing about to be clear.) but with Kendra its quite literally her duty as well. Wouldn't the only other Slayer not in jail take an interest in world ending events? (Or whatever it was the first was trying to accomplish?)
Honestly Glory and the First are the biggest hurdles yeah, Angel's also got the bonus of all that relationship baggage as a good excuse but we don't really have that with Kendra. The Trio are small scale enough we don't really have to worry there. Dark Willow escalates so quickly there's no real time to get anyone involved if they even would. The Mayor is localised enough that it's not quite earth shattering, and I guess if Kendra is still in with the Watchers at that point maybe they would deliberately not pass any information about it along just to spite Buffy for quitting. I guess Adam theoretically would be but he also is just Adam so eh I can forgive her not getting involved for that.
I think we could maybe gesture towards something like Buffy's so protective of Dawn she can't bring herself to bring anyone in who both might have a different opinion from her on the if it would take killing her sister to save the world should they do it and would have the ability to actually do something about it if they did disagree. Which could lead to a fun confrontation down the line of why couldn't you come to me for help from Kendra and Buffy admitting she didn't know if she could trust her to make the same judgement Buffy did (which assuming the whole network problem would never actually be able to happen on screen but could be vaguely gestured at as a why Kendra no longer appears in Sunnydale because there's some bad blood over not being happy that Buffy didn't trust her, which could also be compounded by Buffy's depression being worse than its ever been to burn that relationship she has with the only other not in jail Slayer to the ground)
The First, well theoretically yeah it should be very interested in killing the other active Slayers yeah. The thing is though in canon it's not particularly interested in Faith though, sending one (1) fellow inmate with a shiv to take care of her until she ended up back in Sunnydale so who can say? Maybe it's just not that interested in the actual Slayers besides Buffy for inexplicable reasons.
I was gonna say that all that would have to ignore the fact that Kendra and Zabuto are historically pretty good at figuring out when an apocalypse is about to hit Sunnydale except they're not entirely perfect I guess. They've got a 50:50 hit and miss rate, missing Surprise and hitting Becoming. And sorta getting What's My Line right, a dark power was about to rise in Sunnydale its just alas Dru never really actually did that much did she.
But aside from all that yeah I think realistically they'd just try not to bring it up as an option.
It's funny you mention the face a threat of a similar scale in the tags cause that is the thing that does always strike me about the dichotomy of S7 of Buffy and S4 of Angel, how the sun is literally turned off in LA two hours down the road but Buffy's got to deal with the ghost who keeps telling her to kill herself instead of worrying about that.
Largely agree with this. I do think Kendra -- at least the Kendra we meet in What's My Line? -- would agree with Giles about sacrificing Dawn to save the world, so Buffy's reluctance to tell her would make sense. But equally, Kendra would (I like to think) "remember" meeting Dawn and be very fond of her, and probably she'd be at a point in her own character arc where she wouldn't be quite so sure about what the right course of action was. And of course either way Buffy not trusting her to make the right choice would hurt.
As well as the season finale apocalypses though, there are at least two other potential world-evening events where Kendra could show up: the Sisterhood of Jhe trying to open the Hellmouth in The Zeppo and the Vahrall demons trying to do the same thing next year in Doomed. I think it would neat to have Kendra come back to Sunnydale for one of those, and I think the best choice would be The Zeppo.
I'd keep the whole thing from Xander's perspective, as in canon, which saves the need to explain exactly how Kendra and Zabuto found out about this one. Just have Xander walk in on Buffy having a big strategy meeting with Kendra and Faith at one point, have him wonder when Kendra arrived, then get ushered out to get donuts or something. Maybe another appearance during the post-battle scene at the end where Willow praises some heroic feat Kendra did off-screen, too. (Or have Buffy be the one to offer praise, and have a quick shot of Faith looking irritated.)
I wouldn't want to have Kendra making a cameo appearance mid-season to stop the Hellmouth opening a regular bit though (and I don't know that Kendra would react well to meeting chipped!Spike or Riley) so I guess we'd want to have some big problem happening over on her own show that clashes with the events of Doomed. Have a throwaway line where Giles mentions that they couldn't get in touch with Kendra, have Riley brightly ask "who's Kendra?" and then have Buffy awkwardly change the subject.
The other season finale that I think Kendra should be connected to somehow is Restless. In the world where there is no Kendra the Vampire Slayer spin-off and Kendra stays dead, I think (as I've said before) that it should have been Kendra, not Tara, who acted as the voice of the First Slayer. But in a world where Kendra is alive, I don't think that works quite as well.
So, instead, I'd first add a flashback scene earlier in that season of Kendra the Vampire Slayer where we get to meet the Slayer who died just before Buffy was called. (Not the one from the tie-in novels: a new character.) Then I'd have her step in for Tara over on Buffy (with Buffy not knowing who she was, but maybe figuring out from context that she was a former Slayer). Meanwhile Kendra could either find out about the spell secondhand or, maybe simpler, have her own dream featuring the First Slayer? Maybe one that ties into the longer series arc of Kendra's previous death and resurrection? Some variant on the 'death is your gift' bit from Buffy, somehow? Not sure of the exact details.
(Also, a final thought. It would be horrible for both actors in practice, but a fun thing to do in principle would be to have the First Evil appear to Buffy in Season 7 as Kendra, and meanwhile have the First appear to Kendra over on her own show as Buffy...)
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but if I were to say that I donât think vampires inherently and universally represent queerness and that if thatâs the only way you engage with any story containing a vampire then a lot of very important messages are going to go straight over your head? i would be killed to death.
ESPECIALLY an issue when vampires very explicitly represent fear of outsider immigrant non-white invaders! Dracula can absolutely be read with a queer lens but we cannot let our desire for ~spooky gay stuff~ blind us to the very real xenophobia, antisemitism, and orientalism present in a LOT of the foundational media in vampire history! nor the racism present in modern vampire stories!!!
I really wasn't expecting Javik to get to the top five but every time I saw him I had to consider he's got some good lines. He's got some lines that go really hard. Tali number one was always gonna happen
Full ranking under the cut
There was a pick where I thought oh whoa what am I gonna do if it goes Morinth versus Samara and the very next pick was Morinth versus Samara. Honestly I don't know if Morinth should realistically be this high, she's barely a party member but I love her, I love her space vampire succubus concept, I love that you have the option to recruit her, I love that you can use Dominate on a Collector and if you get lucky and it's timed right she gets to still be in control of one that Harbinger has Assumed Direct Control of. She's fun, you can do that awful dance in her recruitment mission. She has that game over if you sleep with her post game its incredible.
Pretending I was tagged. I've still not actually gotten around to playing the LE remaster, despite owning it for years. (I got as far as downloading what felt like an absurd number of mods for it, then I played for a couple of hours one weekend and promptly got distracted by something else). So this is mostly going on years-old memories of the last time I played.
Slightly surprised myself by ranking Garrus that low (or Wrex that high). I think Garrus is a character I've slightly soured on in reaction to what some of the wider fandom say about him, if I'm being honest: I remember liking him a lot when I first played the original trilogy.
I'd have guessed the top three but probably not in that order. Jack would be higher up if she had more of a presence in the third game, I suspect (although I'm basically ignoring all of Legion's arc in the third game, so maybe not?).
Full ranking under the cut:
I've never actually had Javik or Morinth in my squad (I never played the original From Ashes DLC and, as I said, I've not got anywhere near that far in the remaster yet). I really like EDI the ship's AI but that fondness does not extend to the squadmate version of her character, who I don't like at all.
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Two episodes ago we rewatched Jane Espenson's first episode, Band Candy. Band Candy is a very popular and highly-regarded episode and Jane Espenson would continue to be an important writer on the show for the next four years.
Last episode we rewatched Doug Petrie's first episode, Revelations. Revelations is a very popular and highly-regarded episodeš and Doug Petrie would continue to be an important writer on the show for the next four years.
This week we're rewatching Dan Vebber's first episode, Lovers Walk. Lovers Walk is a very popular and highly regarded episode, and Dan Vebber would .... uh. Write exactly one more episode for the show, a few weeks later, then never again.
Apparently this is something of a reprise of the Carl Ellsworth situation from Season 2. Both Lovers Walk and The Zeppo are credited to Vebber, but -- if the rumors are true -- most of the bits people remember (and almost all of The Zeppo) were actually written by somebody else: probably Joss Whedon. Dan Vebber's only previous writing credits were for the animated teenage sitcom Daria, but his brief foray into writing live action wouldn't last for long. After Buffy he seems to have gone back to exclusively writing animated comedies².
So -- judging by writing credits only -- Lovers Walk offers a brief glimpse into a future for the show that would never come to pass. Jane Espenson and Doug Petrie are here to stay (and in fact the two of them would end up working together on the penultimate episode of the show's final season), but Dan Vebber, despite appearances, is not.
This feels oddly appropriate, somehow, because events within the episode do much the same thing. With the benefit of hindsight, we know that Season 3 is unique in being the only full length season of the show not to have the character Spike appear in at least a majority of its 22 episode run. (Season 2 has 12, Season 4 has 18, and after Season 4 there is only one episode which doesn't feature him). Spike has more speaking time on the show than any character outside the Core Four, and is the only character other than Buffy to ever have more speaking time than Willow, Xander and Giles across a whole season (something he manages in Season 5).
Spike is, whatever you might think about him, unarguably a major character on the show. But it wasn't always going to be that way: everything I've read suggests the decision to add Spike to the main cast in Season 4 was only made after filming of that season had already begun. (Often it's suggested that Spike joined the cast because the writers belatedly realized they needed somebody to replace Cordelia, as if Anya wasn't already doing that; I think the more immediate cause must have been the abrupt departure of Oz, which obviously wasn't something anybody had planned.)
Season 2 featured Spike as the "Big Bad" (although quite for how long is debatable), and from his return to the show in Season 4's The Initiative we get Spike the regular cast member (justified first by a magic chip in his head and then by the acquisition of a soul), but Lovers Walk (and the early Season 4 episode The Harsh Light Of Day) offer us a glimpse of a world in which, after Season 2, Spike was instead refashioned into an Ethan Rayne kind of character. Somebody who would show up once or twice a season, cause problems in a way that revealed unaddressed tension within the group, then skip town as soon as his evil scheme was foiled.
There were rumors throughout the summer of 1998 that both Spike and Drusilla would be returning to guest star in a single episode. Whether there ever were any real plans for Drusilla to come back this season (either in the same episode as Spike, or perhaps a subsequent one), is something I've not been able to discover. But bringing Spike back this way, however it ended up happening, does feel like a pretty inspired decision.
There used to be a trope on the TVTropes page -- going back to the days when the whole site was more obviously focused on the work of Joss Whedon -- called 'Spikeification'. And I think it's fair to say that (for reasons that can't only be explained in-universe), the show does significantly change its position on how the audience should relate to Spike as a character. The question of what exact form that change takes is a bit less clear, however, and I think the fact that the 'Spikeification' page is now known as 'Badass Decay' is a pretty big clue that the TVTropes people got that part wrong.
Season 2 Spike is certainly a fun villain, but he was never really presented as any kind of uncomplicated "badass" in the way the tvtropes page implies. Sure, he gets built up a lot in his very first episode: a killer of multiple Slayers, somebody who Buffy had little choice but to run away from. But that episode ends with him being chased away from the school by a middle-aged single mom with no superpowers, after all. In subsequent episodes of that season, he leads a group of demonic children, gets trapped in a basement, loses several fights, has a church fall on top of him and has his status as "Big Bad" usurped at least twice.
Buffy calls him "pathetic" at the start of Becoming (Part 2), and that's a label that applies just as much to this heartbroken, seemingly constantly drunk vampire (indeed, Buffy herself uses the word again this episode). This version of Spike feels like a pretty natural evolution of the character we saw last season. And it feels right that Drusilla would break up with him -- it's fanon, and arguably even (implied) canon, that she did so only because she knew Spike was (going to be, or possibly already) in love with Buffy -- but I don't think you need to be aware of any of that future context to guess that Dru might react badly to the fact Spike double-crossed her and foiled her attempt to end the world).
Presumably because the writers weren't sure when or if Spike would ever show up again, this is a very Spike-heavy episode. He gets about a quarter of all spoken dialogue this episode: more than any other character including Buffy, and more than he'd had in any prior episode (only his debut episode even comes close). There are some memorable lines, too. The famous scene, of course, is the "You're not friends ..." speech, but we also get a couple of fun scenes with Joyce, the running gag of Spike remembering 'romantic' moments with Drusilla that are clearly horrific ("he begged for mercy and, you know, that only made her bite harder"), and a long self-pitying rant to a captive Willow ("she said we could still be friends! [...] how could she be so cruel?").
I've been talking a lot about Spike in this post, a character I'm normally honestly not that interested in, mainly because ... well, whisper it, but the rest of the episode isn't actually very good? There's a lot of stuff happening that's (at least theoretically) important for the show's longer arcs, but most of it is focused on a couple of plot lines which I've just never been able to convince myself are interesting. The Willow/Xander cheating subplot still stinks and requires the characters to act in very strange ways and I find myself resenting the fact we're spending this much time on it. Faith is absent (again!) for entirely unexplained reasons (again!), in ways that seem trivially easy to address (a line about her still not talking to Buffy after the events of last episode would do! or have Giles absent because he's taking Faith on a training exercise, instead of just having him decide to go camping). And much of the Buffy and Angel plot this week feels like a pointless detour, especially since the conclusion Buffy reaches (that she and Angel can't "just be friends" so shouldn't spend time together at all) will only stick for a single episode. And while it's fun to see the Mayor again, it's slightly grating that Mr Trick has already been relegated to the role of "character who gets mentioned by name but doesn't appear on screen".
Smaller thoughts below the cut:
My DVD punctuates the title of this episode wrong. (It's meant to be Lovers Walk with no apostrophe, but nobody told whoever was creating the DVD menus. And even if it did have an apostrophe, it should surely be after the s of 'Lovers', not before it...)
Buffy's SAT scores are somewhat implausibly high (I can't find exact figures to confirm, but I think that 1430 would have put her solidly at or above the 95th percentile for 1998?). But, equally, they're not quite as impressive as the show will later treat them (I don't think they're high enough to get Buffy into Northwestern by themselves, for example). Still, not bad for somebody who claimed only last week not to test well.
Presumably Willow managed a combined score of 1540 (we only get her verbal score, but I'm guessing she didn't drop any points on the math since she doesn't complain about that). Cordelia presumably did slightly worse than Buffy (her initial reaction suggests she's annoyed that Buffy beat her at something she did well at, I think, and for whatever it's worth the shooting script confirms this is the intended reading), and Xander (who claims the 740 Willow got on the verbal "closely resembles my total scores") must have done the worst. The only character I'm not sure we can rank is Oz, but we did get told last season that Oz "tests well", and last week we found out that he was the "highest scoring person ever to fail to graduate". So my guess is that he did better than Buffy but probably not as well as Willow?
The idea that the Mayor was actually around and actively scheming during Season 2 while Spike was up to his "shenanigans" doesn't really hold water for even a minute, but I enjoy the conceit. This feels like the last season that the show will try to maintain that sort of illusion. (Of course, the very next episode we'll watch is going to be entirely at odds with the implication that the Mayor secretly had everything under control during the first two seasons of the show...)
"I thought it would go better if you didn't know". Willow, I love you but this is a terrible excuse for casting a mind-altering magic spell on somebody without their consent. Also you don't need to cast the spell on both of you anyway (the cheating only keeps happening because you're both into it!). And also also, you personally have been attacked by vampires on school grounds at least four times (by the Master's followers in Prophecy Girl, by Spike and his allies in School Hard, by Angel in Innocence and by Drusilla and her gang in Becoming). You've heard about or seen evidence of at least another half-dozen. You should be smart enough not to be hanging around by yourself in school late at night!
That said, I do think it this is a nice bit of ongoing characterization, and part of an ongoing escalation of Willow's magical use. Over the past fourteen episodes we've gone from Willow agreeing to help out with a small bit of magic when asked (as she was Passion), to volunteering to do some helpful magic people aren't sure she can or should do (as she did in Becoming [Part 1]), to deciding unilaterally to do some helpful magic on the assumption the person she was doing it for will be happy when they're told about it (as in Becoming [Part 2]), to boasting about how much magic she's been doing "for fun" and learning from Giles's example that it's possible to help people by lying to them as well as by doing magic (in Faith, Hope & Trick), and now finally she's planning to cast a spell on somebody who she must know wouldn't have agreed to it (as well as Xander's history with love spells, we can paraphrase Giles last week: "you must know [this] was wrong, or you wouldn't have hidden it"). And this will continue to escalate throughout the next few seasons, culminating in her decision to "helpfully" cast a secret mind-altering spell on Tara and Buffy to make them more agreeable happier. And then, alas, all that will get thrown out of the window immediately thereafter so we can suffer through the awful Magic Equals Drugs arc. But it's a really good bit until then.
I can't quite decide if the fact Willow doesn't seem to have talked to Amy about love spells (and what Spike wants to do to Drusilla seems awfully similar to what Xander wanted to do to Cordelia last season) is a sign that the writers have forgotten Amy exists again or if it's instead quite a good bit of continuity (Amy is the only witch we've seen try to carry out a love spell, but her attempt didn't exactly go well, so Willow would be well within her rights to decide she was better off without her help). [If Willow had gone to Amy for help, I assume Amy would have been briefly thrilled at the news that Willow was struggling with sudden romantic feelings for a friend that wasn't Oz and that Willow didn't know what to do about it, and then immediately heartbroken to realize Willow meant Xander.]
One of the things that annoys me most about the whole Xander/Willow subplot is that ultimately none of it leads anywhere. The conclusion is (going to be) that Oz and Cordelia walk in on a kidnapped Willow and Xander kissing, but .... that could just as easily have been their first kiss? They both thought they were going to die, after all. That makes people do weird things! That was how Xander and Cordelia's relationship started all the way back in What's My Line? All the preceding secrecy and meaningful looks could be cut and the rest of the season plays out the exact same way.
"Not all of us have dates tonight." And again I ask: where is Faith? Also, I'm not completely sure why the episode largely writes out Giles the way it does -- was it just an excuse to give ASH a bit of time off from filming? Or is it to put off Angel and Giles interacting until we get to Amends in a couple of weeks? (It gives Oz and Cordelia a reason to drive off looking for him, but since they get diverted they could just as easily leave explicitly to look for Willow and Xander, right?)
As I said, the scenes with Spike and Joyce are fun, and I think Angel trying and failing to get inside the house to fight Spike is part of that, but ... uh. Why is Angel wandering around outside Buffy's house tonight? He didn't know Spike was around, so he's just ... defaulting to lurking in the shadows trying to keep an eye on the teenage girl he's not dating? Buffy told him Joyce didn't know about the two of them, so what would he have done if she'd seen him (assuming no Spike, I mean)?
"I'm confused again [...] Xander's a witch??" This is funny, but I can't help but feel that maybe people should be doing a better job of keeping Joyce in the loop. Or at least remembered to uninvite Spike from her house...
Xander and Willow are locked in the basement of an abandoned factory behind a heavy steel door that they can't open because Spike presumably locked it when he left. But luckily he also ... made sure to oil the hinges so that it could be opened silently when people came to rescue them? And left the key in the lock? Oh well, at least the farce is over. (Admittedly I am not a teenager anymore, something I am deeply grateful for, but is it really plausible that Xander and Willow's bizarre infatuation just ... magically stops the moment they get caught? They're not even slightly attracted to each other any more? Surely there were more graceful ways to split Xander and Cordelia up than this?)
I will repeat my suggestion that Mr Trick should have been present in this episode. He's meant to be a recurring villain, isn't he? Why isn't he the head of the welcoming committee the Mayor organized? (And why did said committee take so long to find him?) You'd have to slightly tweak the episode to make it clear Trick survived the fight (and that the Mayor doesn't mind all the disturbance his attempt to force Spike out of town caused), but I think that's pretty doable. Failing that, it would be nice if "Lenny" was a vampire we'd met before (the unnamed woman who stole the spell book in Lie To Me, say, or the mentioned-but-never-seen Lucius, maybe?).
You know, for all that fans of the show (encouraged by the writers of the fifth season of Angel) have spent the past two decades pretending there's some kind of tedious Angel/Buffy/Spike love triangle at play, this episode feels like it's basically the last time Angel and Spike will ever interact on Buffy. (Maybe they interact more in Pangs, but the less of that episode I remember the happier I am.)
"Xander? I can't see you..." The fakeout to not!Cordelia's funeral was a highlight of the episode the very first time I saw it -- though, to be fair, I must have been twelve -- and I still think objectively it's a pretty funny gag. But knowing what will happen to Cordelia over on Angel (and at least some of what was happening or would later happen behind the scenes) does rather cast something of a pall on it.
"I can fool Giles, I can fool my friends, but I can't fool myself." Buffy, um. You literally were only fooling yourself. Precisely nobody else thought you and Angel were "just friends", at least in part because the first they knew about Angel being back in town were reports of the two of you secretly kissing. Oz called Angel "your boyfriend" at the end of last week's episode! Giles literally warned you not to do anything rash when you were spending time with Angel earlier this episode! What do you think he could he have meant by that? The fact you somehow convinced yourself you were fooling anybody is honestly incredible.
And, to repeat my criticism from the start: what is the point of this scene, when the writers must have known that Buffy and Angel would be dating again in just a couple of episodes? SMG offers another typically strong performance, but what is it all for? Sometimes people talk about this season "rehashing" the Season 2 Buffy/Angel plot, but I'm not sure that's the verb I'd use. For all my criticisms of it, the Buffy/Angel subplot in Season 2 had a pretty clear and easy to follow arc, one that made logical and metaphorical sense, and which this season largely doesn't retread. Instead it just feels like ... the show doesn't know what story it's even trying to tell anymore? The writers keep throwing in changes to the status quo almost at random, like they're trying to find something that sticks and justifies Angel still being a regular on the show. The montage at the end has basically no weight on rewatching, because two thirds of the relationships it shows will be repaired in just two more episodes (and the intervening one largely takes place in a parallel universeÂł featuring completely different versions of the core characters). It's just empty melodrama.
Technically I am lying here! Didn't want to get into this last week because I fear it's becoming a bit too much of a theme, but Revelations -- despite being very popular with some critics (writing in 2005, Mike Marinaro of Critically Touched thought it was one of the best episodes of Season 3) -- is one of those episodes I think I like rather more than the general fandom does. It's only #71 on the IMDB episode list by user rating, while both the other two episodes I mention are in the top 30, and it does similarly badly on other popular episode rankings (or worse: Rolling Stone's list has it outside the top 100, which is baffling given some of the episodes above it). But in a world where people had better opinions about Buffy the Vampire Slayer, it would indeed be highly ranked, so morally my point stands.
Albeit with a brief break from comedy writing to work on Family Guy.
OK, no it doesn't: I basically agree with @btvsfemslashenjoyer's argument that The Wish isn't actually set in a parallel universe. But it does have the trappings of the classic Star Trek mirror universe, enough so that I think 'parallel universe' is a useful shorthand (and Doppelgangland muddies the waters a bit further). More on that next week (or, well, the week after next, I guess).
1. âRavenâ was an occasionally-encountered name for a girl in the contemporary period, and âEbonyâ would be at least recognizable as a name. The other elements of this name are flatly atypical.
2. During this part of the War Period, this characterâs hairstyle would not be considered shocking, but it would be viewed as garish and nonconformist.
3. A contemporary music performer known for a melancholy style of music and a gothic and dramatic aesthetic. The title of the work probably comes from one of her songs. However, her aesthetic and attitude has little in common with that in this work, being much more conventional and less garish.
4. A member of the contemporary band âMy Chemical Romanceâ, also notable for a âgothicâ, melancholy, and macabre aesthetic
5. i.e. the speaker considers him to be handsome and attractive; despite the pornographic material later in this work, the word âf_______â is here used only as an expletive.
6. Vampires as romantic figures had been increasing in popularity over this period, with a trend away from malicious monsters towards seductive but more benevolent figures, romanticized by their capability of being terrible.
7. Strangely, despite the characterization of this character as a Satanist, âwitchâ should here be characterized as having meaning similar to âwizardâ and not âidolaterâ, âsorceressâ, âmaleficarâ, or other practitioner of what we today recognize as âwitchcraftâ. The background material to this work constantly faced accusations of being satanic by an uneducated reactionary public to whom the difference between technology, wizardry and witchcraft was not meaningful (âwitchâ was sometimes even considered a female equivalent to âwizardâ!), which completely failed to diminish its popularity.
8. It is important to understand that âgothâ as an aesthetic, counterculture or subculture had a completely different meaning in the contemporary period than it does today â what remains similar is the love of the melancholy, the macabre, the dramatic, the romantic, and contempt for conventionalism. In the mid-to-early-late War Period, âGothicâ people were associated with contempt for morality, certain types of sexual display (usually of a shocking and sometimes fetishistic type), various forms of concupiscence, and a fairly significant connection to the occult and even to outright Satanism, though the latter was all but universally an affectation (this is true of most Mid War Period satanism). See contrast on p 321, The Gothic Movement In the Catholic Church. Moreover, the âgothicâ aesthetic as described by this character is a stunted and over-the-top form that has also been corrupted by the counterculture-commericalism that was universal in the Late War Period.
9. A clothing store mostly specializing in counterculture-commercialized and faddist apparel. Critics accused it of being a mercantile vulture that fed by turning more honest and vivacious countercultures into fads.
10. It was almost unheard-of for women in the Mid or Late War Period to wear corsets, but they appeared in the Gothic subculture (which itself heavily borrowed from sources such as Victorian-era clothing, including mourning dress). However, what Enoby is describing is probably not actually a true corset, but a âcorset topâ, which is essentially a laced bodice. Either would be worn with neither chemise nor overblouse.
11. Probably a nondraped skirt that barely passes her wrist.
12. Hose, stockings, or tights in the form of a wide-open mesh
13. Probably not actually military issue boots; these were tall, heavy black leather boots with lacing all the way up.
14. This characterâs outfit would be considered inappropriate for school in the Late War Period, but not shocking to Late War Period mores except by its garishness.
15. Originally meant students at a university-preparatory school; with the extremely high percentage of students seeking to attend university in the Late War Period, this came to mean a subculture of young people who adopted a highly conventionalistic and professionalistic attitude and sought admission to the prestigious and traditionalistic universities in the Eastern United States, often without academics being their true passion. Such people were often viewed as social climbers and sometimes attracted contempt from both their less-professionally-oriented peers and from those who were true intellectuals.Â
16. Also known as âgiving the fingerâ; a very rude gesture in the War Period as it is in ours.
18. This phrase went through considerable popular memetic mutation (as did the entire tract): âIt was _______ <weather> so I felt ________. A lot of _______ stared at me. I ________ them.â See extra material 34c.
17. I.E. âHow are you today?â, âhow are you feeling?â as a greeting.
i was revealed a vision where tumblr introduced a new 'side scroll' option where instead of scrolling down through time you scrolled 'across' to different versions of that post across universes, arranged from good to bad. it was very easy to find very good versions of posts but nobody wanted to do that, people just wanted to see the worst versions of everything. 'goodslop' and 'goodposting (derogatory)' became common turns of phrase.
but now i confess that this was no mere vision, dear reader. i scrolled too far and found myself at the very end of the badposting line whereupon my senses returned to me. your terrible posts are extremely popular across the goodverses (derogatory). i hope that one day if i post badly enough and often enough one of them will see and come to rescue me, though deep down i know they'll just get stuck here too
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it really is kind of interesting how attached people are to the idea of the improvised line and the genuine reaction in film. nearly every single famous moment or line has some sort of claim floating around that it wasn't in the script and was either made up on the spot by an actor or was sprung as a surprise on the actors to get their 'real' reaction. you know, sometimes people do come up with good lines in advance and write them down, and sometimes people can pretend to be have a convincing emotional response on screen
BUFFY THE VAMPIRE SLAYERÂ //Â 7.12Â "Potential"
Look, if I come here, itâs because I gotta wring information out of something large, scary, drunk⌠with a room full of friends who donât care very much for the Slayer. Remember that.
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