Words almost fail me.
Nila are a commercial catering company based in Hanwell. It says “taste and quality” on their website but that is sadly lacking on their front line of advertising: the vans that deliver the food.
More on this sexist shit here.
Bad Eggs (Marti Noxon)
I am prepared to be contradicted once I rewatch Beer Bad but I think this is the worst episode of Buffy.
I can’t even be bothered writing about it but it can be summarized as the Gorch Brothers, too much kissing, the unsubtle Aliens rip-off, and the overwrought music that merely emphasized that there was no drama on the screen.
“Oh, sure. They say they’ll call” – even the dialogue is gyughh except this exchange: “Can I just say gyughh!” “I see your ‘gyughh!’ and raise you a nyaghh!”.
Sad news: the dwarf planet nicknamed Xena has officially been called Eris which is fair enough because it continues the gods and goddesses theme of all the planets (except ours) but where’s the fun in that?
At least Buffy is still hanging in there.
Anne Karpf doesn’t actually remind us of this sort of thing but childhood (and adulthood) is not and never has been easy: the world is changing rapidly for all of us and this change is is both scary and exciting. More on this here.
In a discussion about Mercedes McNab posing nude, there is this gem of a comment that sums up my irritation over the use of the device in an argument of the “there are worse things, you know” distraction.
Ted (David Greenwalt and Joss Whedon)
I liked this episode a lot though it was an uneasy mixture of deadly serious (Buffy thinks she has killed an ordinary human – a situation not dissimilar from Faith and her killing of Allen Finch) and the humorous (Willow is so cute in this episode – not as cute as in a parka – but still sweet in her geeky eagerness). John Ritter was great as Ted – jovial, sinister and jerky. SMG was superb. I find it easy to under appreciate her which is just wrong. Her vulnerability and fear was moving when she tries to speak to her mother about what she did.
The conversation at the beginning about Captain and Tennille shows that Buffy, contrary to Xander’s opinion, was not “raised in a culture-free environment” but is, in fact, a normal sixteen year old who, quite rightly, wouldn’t know the good Capt if he bit her in the neck. This sort of dialogue reveals the age of the scriptwriters and is not very convincing.
“Oh, that’s the sound she makes when she’s speechless with geeker joy.”
“Vampires are creeps.” “Yes, that’s why one slays them.” “I mean, people are perfectly happy getting along, and then vampires come, and they run around and they kill people, and they take over your whole house, they start making these stupid little mini pizzas, and everyone’s like, ‘I like your mini pizzas,’ but I’m telling you, I am…” “Uh, uh, Buffy! I-I believe the…subtext here is, is, rapidly becoming, text.”
“What? Freud would’ve said the exact same thing. Except he might not have done that little dance.”
“But I’m sure it wasn’t your fault. He started it.” “Yeah. That defence only works in six-year-old court, Will”
“I don’t get it. Buffy’s the Slayer. Shouldn’t she have…” “What, a licence to kill?” “Well, not for fun. But she’s like this Superman. Shouldn’t there be different rules for her?” Sure, in a fascist society” “Right! Why can’t we have one of those?”
“That’s right, little lady, you killed me. Do we have something to say about that? Are we sorry?”
“No, no, really, I, uh, I don’t think it went in too deep. The advantages of layers of tweed. Better than Kevlar” – the reconciliation of Giles and Jenny is sweet
“Oh, Will, you’re supposed to use your powers for good!”
A cat of many talents: particularly good are fetish, stealth and thief.
The summer holidays are over and it’s back to school tomorrow: year five.