I love that moment near the end of Dr. Horrible’s Sing-Along Blog

…where the newly-triumphant, newly-tragic Dr. Horrible (having, through the same act, gained membership to the Evil League of Evil and killed the woman he loved) strides through a bar, receiving as he does kudos from various villainous patrons.

Dr Horrible

The bar is full of movement, but not the movement of conviviality or of joy. Instead, the pumping, almost hydraulic, up-and-down movement of the patrons – which, in the case of the cowboy trio with their stetsons and handlebar moustaches, tips over into the grotesque – has an edge of franticness, and of insistent hedonism that has left behind pleasure. The artificial lights, the looping lo-fi music, and the alcoholic drinks, abundantly visible, and aggressively brandished by the cowboys, complete the impression of seediness.

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I love this one shot near the end of ‘Who Are You’…

Context: ‘Who Are You’ is the the sixteenth episode of season 4 of Buffy the Vampire Slayer. It’s the episode where Buffy and Faith switch bodies (well, the switch happens at the end of the previous episode, but this is the episode where we see how it plays out). Faith is a wanted criminal, so Buffy-in-Faith’s-body is first arrested by the police, and then intercepted by muscle working for the Watcher’s Council. In the time it takes her to escape from her incarceration and return to Sunnydale to reclaim her body, Buffy has received a taste of how those who know Faith feel justified in treating her: she has been called trash, and her/Faith’s face has been spat at. Meanwhile, Faith-in-Buffy’s-body has received her own novel taste of what it is to be treated with love (both maternal and romantic), gratitude and respect. The two Slayers come face to face with each other/themselves once more when both independently learn that vampires are holding a congregation hostage in a church, and go there on a rescue mission. Once the vampires have been dispatched, Buffy and Faith fight it out on the church’s altar. Faith-in-Buffy’s-body gains the upper hand, and straddles Buffy-in-Faith’s-body while she directs blow after self-loathing blow and insult after self-loathing insult at her own face. What she does not know is that Willow and Tara have conjured Buffy a doohickey that will reverse the body swap. Buffy interrupts Faith’s onslaught by clasping her hand (in a gesture with the appearance – appropriately, given the location and aspects of the pair’s relationship – of communion). There is a glow, a shudder, and a rushing sound effect to confirm that the reversal has worked.

The shot

Faith

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Happy 50th birthday Joss Whedon

The 50th episode of Buffy the Vampire Slayer was, it just so happens, written and directed by Joss Whedon.  ‘Doppelgangland’ showcases many of the key strengths of Whedon and of his most fully-realised, successful story-world: a tightly-plotted, fantastical scenario, revolving around an established ensemble of eloquent and witty characters who are manoeuvred into a series of dramatically effective constellations, is used to create situations in which characters feel deeply, respond emotionally, and are placed in life-or-death situations, as a way of tracing out some of the contours of personal identity via interpersonal interactions.  This makes it a good episode to discuss as a way of marking its maker’s 50th birthday.

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In Your Eyes

I’d been keeping tabs on the progress of In Your Eyes (Brin Hill, 2014) for a while – because it was written by Joss Whedon.  A couple of weeks ago I saw that it would be premiering at Tribeca, but even at that point I could still see no news of a UK release.  Given how tricky it was for someone living in a city without an independent cinema to get to see Much Ado About Nothing (Joss Whedon, 2012), I wasn’t optimistic about getting to see In Your Eyes any time soon.  So I was delighted when a friend texted me this lunchtime with the news that the film is available to stream now on Vimeo, for just $5, via http://inyoureyesmovie.com/.  I have now watched it, and it may well be my favourite film that Whedon has written and/or directed (not including Toy Story, for which Whedon gets first screenwriting credit but which clearly remains John Lasseter’s film first and foremost).

The first part of the review below is spoiler-free (aside from discussing the concept that drives the film, which is introduced at a very early stage), then there is a clearly-signalled division before I proceed to discuss the film as a whole, including its ending.

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All rocket launchers, no emotional resonance

(Next day update.  The below was written immediately after watching Agents of S.H.I.E.L.D. for the first time.  Tonight I re-watched the episode, and warmed to it a little.  My understanding of the plot and the purpose of each scene certainly benefited from a second screening.  I still maintain that the agents feel like discrete plot functions – and somewhat lacklustre ones at that – rather than interacting characters, which is unusual for a Whedon pilot.  Usually, he deftly establishes not only a plot but a world and a set of relationships, as I suggest below.  ‘We’re not exactly a team’, Coulson tells its newest member at the end of the first episode, and he is about right.  However, perhaps as the series proceeds, we will see the ensemble knit together…)

What follows is a very personal response to Agents of S.H.I.E.L.D. (which felt to me like a very impersonal programme).  In composing this blog I’ve repeatedly drafted then deleted a list of my Whedon-based activities over the past three years – drafted because it seemed necessary to give an idea of my massive investment in Whedon’s output; deleted because it felt like I was listing credentials and sounded like I was gearing up to whine about being betrayed.  I’ll just say that I’ve seen most of the stuff that Whedon has had a major hand in since 1992, and I’ve explored every televisual corner of the Whedonverse, much of it in a lot of detail (partly because I’ve been teaching it for three years).  On the other hand, whilst I have of course seen Avengers Assemble, I haven’t seen Iron Man, Captain America, etcetera, and have limited interest in – though certainly no hostility towards – Marvel superheros.

What I have to say against Agents of S.H.I.E.L.D. is, I recognise, a version of an argument, or rather a series of arguments (about budgets and spectacle and characterisation and so on), that have been made many times before, and often with the person making the argument perhaps not being justified in demanding of a given text the thing it is deemed to lack.  It is, nevertheless, the argument I want to make, the one that I think is right and called for, and I will make it as carefully as possible.

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