June 14, 2004

Praising Buffy for Its Lyrics and Book

I bought Season 6 of Buffy the Vampire Slayer a few weeks ago. That season may be best known to some for its relentless darkness (addiction, murder, a flaying), but it is also well known for including “Once More With Feeling”, the brilliant musical episode. At first glance probably the most exciting and unusual things about this episode are the elaborate staging, the imaginative dance numbers, and the fascinating array of musical styles in the songs. In this episode the Buffy-verse is opened up, and a whole new world of movement and style of action occurs.

But the more I think about it I suppose what’s at the center of its fabulousness is, as is so often the case with Buffy, the use of language in the episode. Putting dialogue into song really allows you to say things and get things across that you couldn’t otherwise do. It allows the creators to take their cleverness up a notch.

This opens up whole new possibilities for comedy. For example, consider Anya’s song (part of the larger “I’ve Got a Theory” song where characters discuss why everyone is bursting into song): “I’ve got a theory, it could be bunnies” [cricket chirps, stares of disbelief from her friends, then – BOOM – big rock music lights and explosions and the high energy wailing begins] “Bunnies aren’t just cute like everybody supposes. They’ve got them hoppy legs and twitchy little noses. And what’s with all the carrots? What do they need such good eyesight for anyway? Bunnies! Bunnies! It must be bunnies! [final light extravaganza, followed, once again, by stares of disbelief, then] … Or maybe midgets.” Is there any way such a hilariously unlikely phobia could be brought forth in such an amusing way outside of a song?

Another lyrical bit I like is the bridge in Spike’s song. It’s really longing and desperately romantic, but the wordplay is great considering that he’s a vampire (a focus on hearts and blood). “I know I should go, but I follow you like a man possessed. There’s a traitor here beneath my breast, and it hurts me more than you’ve ever guessed. If my heart could beat it would break my chest, but I can see you’re unimpressed, so leave me be …”.

The songs also allow different characters the neat trick of saying vastly different things with the same words. Consider the double meaning of “What Can’t We Do If We’re Together” which at first sounds like it’s a rousing, good-feeling, bonding number, but which is also conveying the debilitating level of Buffy’s boredom and ennui. The irony meter is arguably even higher in other numbers. Tara sings “I’m Under Your Spell” to Willow proclaiming her love and how Willow has changed her life, oblivious to the fact that she is literally under Willow’s spell. Buffy sings a string of shiny platitudes (“Where there’s life, there’s hope. Every day’s a gift. Wishes can come true …”) while beating to death evil minions. This juxtaposition is intriguing given that many of the musicals most Americans are aware of are positively dripping in sincerity and sentimentality.

And then there’s just the simple pleasure of opening up language choices. For example, how often can characters say things like “I was able to examine the body while the police were taking witness arias”, “clearly our number is a retro-pastiche, it’s never going to be a breakaway pop hit” or even “I think this line’s mostly filler”.

Of course this episode has many other virtues too, but as with so many things the fundamental strength of the work is in the writing.

Posted by armand at June 14, 2004 11:06 AM | TrackBack | Posted to Culture


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