Angel 1.18: "Five by Five"
Written by Jim Kouf
Directed by James A. Contner
In which Faith arrives in Los Angeles after her recent awakening in Sunnydale, and when Wolfram and Hart sends her to kill Angel, her instability is exposed…
Status Report
Coming on the heels of the “Buffy” episode “Who Are You”, this episode begins a process that would send “Angel” to a more consistent level of storytelling. Much of the first season had been spent trying to find the right direction: some episodes were devoted to a relatively simple theme of redemption, while others were predicated on the idea of Angel as Champion. Other initiatives were attempted that never really came together, like the Angel/Kate dynamic.
Faith’s arrival in Los Angeles changed all of that. Faith came on the scene after an experience that forced her to see all the emotional and psychological baggage that was ruling her actions. “Who Are You” forced Faith to recognize everything she hated about herself, and she arrived in LA with no real concept of what to do about it.
Angel was identified during the third season of “Buffy” as the perfect person to give Faith perspective. That resonance between the characters is what drives this story, and it actually serves as an important moment in Faith’s overall character arc. Just as Buffy must endure a long and laborious process of self-discovery to find her sense of balance, so must Faith lose everything to find her true strength of character.
Ever since “Amends”, the third season episode of “Buffy” that began Angel’s recent search for redemption, Angel has been trying to find a way to make real progress in that personal quest. His activities in Los Angeles have been heroic in many cases, but in other moments, his lack of connection with humanity has been apparent. Faith represents someone with a clear need for change and redemption.
Angel’s flashbacks to the circumstances of his cursing give scope to his level of understanding. Angel finds himself suddenly recognizing the depth of his evil as Angelus, and in response, he tries to “correct” his conscience by engaging in exactly the kind of evil behavior that used to make him so happy. Angel recognizes the same look of psychological desperation in Faith’s eyes, and as the episode progresses, that dynamic becomes central to the episode.
Of course, part of the fun is that Angel can’t be sure that Faith can be saved. It’s easy enough for him to recognize Faith’s descent; it’s quite another to use that as a motivation to become the person to bring Faith back from the abyss. Angel needed someone to show him that there’s something good and worthy left in him, and so he must question whether or not he can do the same for Faith. It’s really a question of whether or not Angel can replace the “guidance” of the Mayor with an equally powerful influence.
If that were the only layer to the storytelling, then it would have probably worked as a typical first season episode. However, the writers also wanted to establish more firmly the role of Wolfram and Hart. Lindsay and Lilah become far more prominent in their machinations, and the “office politics” of the demonic law firm make their first appearance. This additional layer of intrigue not only brings back much of the promise of the pilot episode, but it also sets the stage for some of the complexities of the second season.
This element is tied to Angel’s previous escapades through the plot device of convincing Marquez to testify in a case that Wolfram and Hart has a stake in (not literally, this time). This places Angel and his activities in something of a wider context; his mission is getting in the way of the firm’s goals. Those goals are still somewhat murky at this point, but the intent is clear.
Meanwhile, Faith tries to find some outlet for her own negative energy. She wants to be hated, yet a part of her wants to be found worthy of something real. Unfortunately for Faith, she’s never learned any other way than what she’s always done: sex and violence. Since those are the things that rule her from the Chosen legacy (thanks to what appears to be heavy abuse as a child), it’s how she instinctively reacts. She doesn’t have the nurturing influence that Buffy has received.
For Eliza Dushku fans, that’s a good thing, because it means lots of sweaty, sexy dancing in skimpy outfits that tend to be tight and shiny. Faith always dresses to kill, and that’s one of the best things about the character, especially at this stage of the Buffyverse. (For better or worse, Buffy had abandoned much of her inherent sexiness when Sarah Michelle Gellar dropped far too much weight.) Faith is something of a slut, but she gives the broiling instincts of the Slayer expression.
What’s interesting is the reaction from Wolfram and Hart to Angel’s interference. The implication of later episodes is that the firm always knew that Angel would be a player. So why try to kill him now? It could be a question of shifting assessments. At this point, Angel is showing little or no proclivity towards slipping back to the dark side. Killing him could be seen as a better option. It’s not until the end of the season that they put into motion the plan to subvert and turn Angel.
Another interesting concept introduced in this episode is the idea that Darla recognizes the return of Angel’s soul. This would suggest that it has happened before Angelus, and that Darla either saw the effects or learned about it from the Master. Whatever the case, vampires are clearly disgusted and terrified at the thought of having a soul restored. As later seasons of “Buffy” would demonstrate, there’s more than one way for a vampire to have his or her soul restored, and it’s often not something that most vampires would admire or revere.
The fact that Giles didn’t say anything to Wesley is a nice bit of evolution for the Buffyverse. Clearly, Wesley or Cordelia must have informed the gang back in Sunnydale regarding the status quo in LA, or Wesley wouldn’t comment on the fact that Giles should have known where he was to make contact. The fact that he wasn’t warned is an indication of how little respect Giles has for Wesley, and that’s something that carries through the rest Wesley’s arc.
Adding another layer to the mix, Wesley is initially the one who insists that Faith be saved from herself. This becomes important later when Wesley becomes the one ready to kill, forced to face his own demons. This is the episode where a lot of the hidden strength in Wesley comes through, and the character is all the better for it. He never quite loses his naïve qualities, but they become a lot less prominent.
Faith’s torture session with Wesley is more brutal than one would expect, but it effectively communicates how far Faith has fallen. More to the point, this is when Wesley’s desire to help Faith see the light comes to an abrupt and painful end. But it’s also nicely mirrored by Angel’s own actions in the past, providing a strong resonance between Angel and Faith and their journey towards redemption.
What’s great about this episode is how Angel’s choices take him further down the same road that he offers to help Faith find. It’s even better when taken in context with the later developments in Faith’s arc. In a lot of ways, Faith gets to find a way to find peace within herself by the end of “Buffy”, while Angel’s path is a lot less direct. This begins Faith’s process of becoming the Slayer she was always meant to be; Angel’s search for redemption will never truly end.
Of course, there are immediate obstacles for Faith, and Angel has to make some serious choices to allow her the time to overcome them. It’s that immediate conflict of interest that comes into play with the second half of the story. Those conflicts also complete the process of bringing “Angel” to the next level of storytelling.
Memorable Quotes
ANGEL: “You’re gonna have to face your demons sometime.”
MARQUEZ: “What if I don’t want to face my demons?”
ANGEL: “Then you’ll have to face mine.”
LINDSEY: “I hate failure when there’s no one else to blame it on…”
LINDSEY: “We can get you off.”
FAITH: “You don’t know how many men have promised me that.”
LILAH: “I’m certain you won’t be disappointed in our performance.”
ANGEL: “I thought she was in a coma.”
CORDELIA: “Pretty lively coma…”
LINDSEY: “You know, just when I think I got you figured out…you show up in a suit.”
CORDELIA: “Don’t worry! Hell will freeze over before I have sex with him.”
WESLEY: “Thank goodness for small favors…”
Final Analysis
Overall, this episode is a highlight of the first season. As usual, Eliza Dushku brings something unique and dangerous to the role of Faith, and given the character’s madness in this episode, it works beautifully. The themes and parallels are strongly established, and the growing presence of Wolfram and Hart is a welcome development.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
Directed by James A. Contner
In which Faith arrives in Los Angeles after her recent awakening in Sunnydale, and when Wolfram and Hart sends her to kill Angel, her instability is exposed…
Status Report
Coming on the heels of the “Buffy” episode “Who Are You”, this episode begins a process that would send “Angel” to a more consistent level of storytelling. Much of the first season had been spent trying to find the right direction: some episodes were devoted to a relatively simple theme of redemption, while others were predicated on the idea of Angel as Champion. Other initiatives were attempted that never really came together, like the Angel/Kate dynamic.
Faith’s arrival in Los Angeles changed all of that. Faith came on the scene after an experience that forced her to see all the emotional and psychological baggage that was ruling her actions. “Who Are You” forced Faith to recognize everything she hated about herself, and she arrived in LA with no real concept of what to do about it.
Angel was identified during the third season of “Buffy” as the perfect person to give Faith perspective. That resonance between the characters is what drives this story, and it actually serves as an important moment in Faith’s overall character arc. Just as Buffy must endure a long and laborious process of self-discovery to find her sense of balance, so must Faith lose everything to find her true strength of character.
Ever since “Amends”, the third season episode of “Buffy” that began Angel’s recent search for redemption, Angel has been trying to find a way to make real progress in that personal quest. His activities in Los Angeles have been heroic in many cases, but in other moments, his lack of connection with humanity has been apparent. Faith represents someone with a clear need for change and redemption.
Angel’s flashbacks to the circumstances of his cursing give scope to his level of understanding. Angel finds himself suddenly recognizing the depth of his evil as Angelus, and in response, he tries to “correct” his conscience by engaging in exactly the kind of evil behavior that used to make him so happy. Angel recognizes the same look of psychological desperation in Faith’s eyes, and as the episode progresses, that dynamic becomes central to the episode.
Of course, part of the fun is that Angel can’t be sure that Faith can be saved. It’s easy enough for him to recognize Faith’s descent; it’s quite another to use that as a motivation to become the person to bring Faith back from the abyss. Angel needed someone to show him that there’s something good and worthy left in him, and so he must question whether or not he can do the same for Faith. It’s really a question of whether or not Angel can replace the “guidance” of the Mayor with an equally powerful influence.
If that were the only layer to the storytelling, then it would have probably worked as a typical first season episode. However, the writers also wanted to establish more firmly the role of Wolfram and Hart. Lindsay and Lilah become far more prominent in their machinations, and the “office politics” of the demonic law firm make their first appearance. This additional layer of intrigue not only brings back much of the promise of the pilot episode, but it also sets the stage for some of the complexities of the second season.
This element is tied to Angel’s previous escapades through the plot device of convincing Marquez to testify in a case that Wolfram and Hart has a stake in (not literally, this time). This places Angel and his activities in something of a wider context; his mission is getting in the way of the firm’s goals. Those goals are still somewhat murky at this point, but the intent is clear.
Meanwhile, Faith tries to find some outlet for her own negative energy. She wants to be hated, yet a part of her wants to be found worthy of something real. Unfortunately for Faith, she’s never learned any other way than what she’s always done: sex and violence. Since those are the things that rule her from the Chosen legacy (thanks to what appears to be heavy abuse as a child), it’s how she instinctively reacts. She doesn’t have the nurturing influence that Buffy has received.
For Eliza Dushku fans, that’s a good thing, because it means lots of sweaty, sexy dancing in skimpy outfits that tend to be tight and shiny. Faith always dresses to kill, and that’s one of the best things about the character, especially at this stage of the Buffyverse. (For better or worse, Buffy had abandoned much of her inherent sexiness when Sarah Michelle Gellar dropped far too much weight.) Faith is something of a slut, but she gives the broiling instincts of the Slayer expression.
What’s interesting is the reaction from Wolfram and Hart to Angel’s interference. The implication of later episodes is that the firm always knew that Angel would be a player. So why try to kill him now? It could be a question of shifting assessments. At this point, Angel is showing little or no proclivity towards slipping back to the dark side. Killing him could be seen as a better option. It’s not until the end of the season that they put into motion the plan to subvert and turn Angel.
Another interesting concept introduced in this episode is the idea that Darla recognizes the return of Angel’s soul. This would suggest that it has happened before Angelus, and that Darla either saw the effects or learned about it from the Master. Whatever the case, vampires are clearly disgusted and terrified at the thought of having a soul restored. As later seasons of “Buffy” would demonstrate, there’s more than one way for a vampire to have his or her soul restored, and it’s often not something that most vampires would admire or revere.
The fact that Giles didn’t say anything to Wesley is a nice bit of evolution for the Buffyverse. Clearly, Wesley or Cordelia must have informed the gang back in Sunnydale regarding the status quo in LA, or Wesley wouldn’t comment on the fact that Giles should have known where he was to make contact. The fact that he wasn’t warned is an indication of how little respect Giles has for Wesley, and that’s something that carries through the rest Wesley’s arc.
Adding another layer to the mix, Wesley is initially the one who insists that Faith be saved from herself. This becomes important later when Wesley becomes the one ready to kill, forced to face his own demons. This is the episode where a lot of the hidden strength in Wesley comes through, and the character is all the better for it. He never quite loses his naïve qualities, but they become a lot less prominent.
Faith’s torture session with Wesley is more brutal than one would expect, but it effectively communicates how far Faith has fallen. More to the point, this is when Wesley’s desire to help Faith see the light comes to an abrupt and painful end. But it’s also nicely mirrored by Angel’s own actions in the past, providing a strong resonance between Angel and Faith and their journey towards redemption.
What’s great about this episode is how Angel’s choices take him further down the same road that he offers to help Faith find. It’s even better when taken in context with the later developments in Faith’s arc. In a lot of ways, Faith gets to find a way to find peace within herself by the end of “Buffy”, while Angel’s path is a lot less direct. This begins Faith’s process of becoming the Slayer she was always meant to be; Angel’s search for redemption will never truly end.
Of course, there are immediate obstacles for Faith, and Angel has to make some serious choices to allow her the time to overcome them. It’s that immediate conflict of interest that comes into play with the second half of the story. Those conflicts also complete the process of bringing “Angel” to the next level of storytelling.
Memorable Quotes
ANGEL: “You’re gonna have to face your demons sometime.”
MARQUEZ: “What if I don’t want to face my demons?”
ANGEL: “Then you’ll have to face mine.”
LINDSEY: “I hate failure when there’s no one else to blame it on…”
LINDSEY: “We can get you off.”
FAITH: “You don’t know how many men have promised me that.”
LILAH: “I’m certain you won’t be disappointed in our performance.”
ANGEL: “I thought she was in a coma.”
CORDELIA: “Pretty lively coma…”
LINDSEY: “You know, just when I think I got you figured out…you show up in a suit.”
CORDELIA: “Don’t worry! Hell will freeze over before I have sex with him.”
WESLEY: “Thank goodness for small favors…”
Final Analysis
Overall, this episode is a highlight of the first season. As usual, Eliza Dushku brings something unique and dangerous to the role of Faith, and given the character’s madness in this episode, it works beautifully. The themes and parallels are strongly established, and the growing presence of Wolfram and Hart is a welcome development.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
posted by John Keegan | 17:35
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