Buffy 5.5: "No Place Like Home"
Written by Douglas Petrie
Directed by David Solomon
In which Buffy is convinced that her mother’s medical condition is the result of an attack on her family, and all of the evidence points her towards Dawn…
Status Report
Much like the fourth season, the fifth season gets off to a relatively slow start. Sure, Dawn is introduced at the end of the premiere, and some of the seeds are planted for the character arcs, but it takes five episodes for the actual season arc to start in earnest. Rather than drag out revelations about Dawn, the writers answer the key question (no pun intended) in relatively straightforward fashion. One of the best aspects of this revelation is how little it explains. Several huge questions linger and await resolution.
The teaser is a particularly good beginning, because events are finally given a wider canvas. One of the issues with the fifth season, in terms of how it began, is the pacing. The story remains focused on the small scale of character relationships. This opens up the idea of a secret order of monks, trying to preserve something of great power, and thus immediately giving the plot more of an impact.
That doesn’t mean that the character development is set aside. The best aspects of “Buffy” are often realized when the plot arc provides the impetus for deep character exploration. That’s where the metaphors and themes play the predominant role. The monsters and situations are often metaphorical because the source of the angst and drama is incidental; it’s the changes and reactions to each challenge that drives the show.
In this case, Joyce and her questionable health remains at the forefront. At this stage, the viewers have every reason to believe that the cause is something unusual, since nearly everything in the Buffyverse falls in that category. The idea of a “real world” malady striking someone down was unheard of, so Buffy’s thought process is rational from her unique perspective. Given the information she has, and her own emotional distress, what other assumption would she make?
Giles is also continuing on his path, trying to restore a sense of purpose through his new business (complete with hilarious costume!) and his renewed mentoring of Buffy. Just as Joyce and her troubles would never go away, so will Giles’ recognition of his growing dissatisfaction play a part in the rest of the season.
Riley’s worries over his “normal” physical status are reflected in Buffy’s off-screen comments and his own lack of confidence. While this is a logical plot progression for Riley, it does not serve the character well, once again reinforcing the notion that he should have left Sunnydale once his purpose in the fourth season was fulfilled. (He does provide the writers with an easy way to reinforce the sub-theme of loss and isolation that helps define Buffy in the fifth season, but it’s still what killed the character for many.)
In the middle of all this, there’s the follow-up on Spike’s realization at the end of the previous episode that he has a growing obsession with Buffy. In keeping with his character, he approaches this situation with passive-aggressive loathing. Standing outside of Buffy’s house, pining away for someone who hates him with a passion, is exactly the sort of thing the human William would have done. This is a nice foreshadowing of the revelations to come.
This episode is notable for the introduction of Glory, played by the lovely Clare Kramer. The idea of making the Big Bad a hottie is hardly new, especially after the third season and Faith, but that was not the most controversial aspect of the choice. It was more a matter of the writers’ decision to have Glory act like a spoiled brat. Initially, many fans were annoyed and disappointed in Glory for that very reason.
Of course, in retrospect, it makes sense. If the season is about the dichotomy within personality and issues of self-identity, then this fits very well into the theme (especially given later revelations about Glory and Ben). If Buffy has something within her that is non-human (and at this point, there were hints that the Chosen line had demonic origins), then Glory is effectively the demon within, unleashed and seeking dominion. And what is the key to that dominion? None other than an aspect of Buffy’s human side, rendered flesh and blood.
The spell that Buffy performs is simply a plot device, a means of getting Buffy to the point where she realizes that something is up with Dawn and that things have changed. As a means of communicating intent to the audience, it is also effective. Those who felt that Dawn was a complete violation of continuity were granted a quick and immediate rebuttal. Yet there was also the possibility, laid out in “The Real Me”, that Dawn was something sinister, and that played into the spell’s effects and Buffy’s assumptions perfectly.
By the end of the episode, Buffy is placed in a position of responsibility that portends her role in Dawn’s life by the end of the season. More to the point, Buffy comes to the conclusion that she must protect Dawn as an “innocent”. Metaphorically, if Dawn was created out of the part of Buffy that is completely human, then Buffy is protecting the manifestation of her own innocence and humanity. Seen within that context, her choice at the end of the season is practically inevitable: the Slayer sacrificing herself for the Human.
The other interesting side to Glory is her method of maintaining “sanity”. Glory is effectively a “mental stability vampire”. She uses humans as something of a food source, and without that replenishment, she begins to unravel. That level of analogy makes her just another kind of vampire, and thus the perfect enemy for Buffy to counter, while still on a completely new level of power.
With the plot elements getting the ball rolling on the season arc, interspersed with character shading and a ton of metaphor, this episode is one of the highlights of the early fifth season. Another stage in Buffy’s development is achieved, and the pieces are in place for her sacrifice in the season finale.
Memorable Quotes
DAWN: “Check out all the magic junk!”
GILES: “Our new slogan…”
BUFFY: “I put this before the group. What the hell is it?”
GILES: “It appears to be paranormal in origin.”
WILLOW: “How can you tell?”
GILES: “Well…it’s so shiny…”
GILES: “Xander! There’s too many of them…people! And they all seem to want things.”
XANDER: “I hear ya. Stay British! You’ll be OK!”
BUFFY: “What are you doing here? Five words or less.”
SPIKE: “Out. For. A. Walk….Bitch.”
Final Analysis
Overall, this episode is the highlight of the early fifth season, setting up a number of elements crucial to the season arc while exploring the central metaphors with an unusual amount of subtlety. So much is happening in the episode that it would be easy to miss the foreshadowing, but looking back on the series, this is the kind of storytelling that worked best.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
Directed by David Solomon
In which Buffy is convinced that her mother’s medical condition is the result of an attack on her family, and all of the evidence points her towards Dawn…
Status Report
Much like the fourth season, the fifth season gets off to a relatively slow start. Sure, Dawn is introduced at the end of the premiere, and some of the seeds are planted for the character arcs, but it takes five episodes for the actual season arc to start in earnest. Rather than drag out revelations about Dawn, the writers answer the key question (no pun intended) in relatively straightforward fashion. One of the best aspects of this revelation is how little it explains. Several huge questions linger and await resolution.
The teaser is a particularly good beginning, because events are finally given a wider canvas. One of the issues with the fifth season, in terms of how it began, is the pacing. The story remains focused on the small scale of character relationships. This opens up the idea of a secret order of monks, trying to preserve something of great power, and thus immediately giving the plot more of an impact.
That doesn’t mean that the character development is set aside. The best aspects of “Buffy” are often realized when the plot arc provides the impetus for deep character exploration. That’s where the metaphors and themes play the predominant role. The monsters and situations are often metaphorical because the source of the angst and drama is incidental; it’s the changes and reactions to each challenge that drives the show.
In this case, Joyce and her questionable health remains at the forefront. At this stage, the viewers have every reason to believe that the cause is something unusual, since nearly everything in the Buffyverse falls in that category. The idea of a “real world” malady striking someone down was unheard of, so Buffy’s thought process is rational from her unique perspective. Given the information she has, and her own emotional distress, what other assumption would she make?
Giles is also continuing on his path, trying to restore a sense of purpose through his new business (complete with hilarious costume!) and his renewed mentoring of Buffy. Just as Joyce and her troubles would never go away, so will Giles’ recognition of his growing dissatisfaction play a part in the rest of the season.
Riley’s worries over his “normal” physical status are reflected in Buffy’s off-screen comments and his own lack of confidence. While this is a logical plot progression for Riley, it does not serve the character well, once again reinforcing the notion that he should have left Sunnydale once his purpose in the fourth season was fulfilled. (He does provide the writers with an easy way to reinforce the sub-theme of loss and isolation that helps define Buffy in the fifth season, but it’s still what killed the character for many.)
In the middle of all this, there’s the follow-up on Spike’s realization at the end of the previous episode that he has a growing obsession with Buffy. In keeping with his character, he approaches this situation with passive-aggressive loathing. Standing outside of Buffy’s house, pining away for someone who hates him with a passion, is exactly the sort of thing the human William would have done. This is a nice foreshadowing of the revelations to come.
This episode is notable for the introduction of Glory, played by the lovely Clare Kramer. The idea of making the Big Bad a hottie is hardly new, especially after the third season and Faith, but that was not the most controversial aspect of the choice. It was more a matter of the writers’ decision to have Glory act like a spoiled brat. Initially, many fans were annoyed and disappointed in Glory for that very reason.
Of course, in retrospect, it makes sense. If the season is about the dichotomy within personality and issues of self-identity, then this fits very well into the theme (especially given later revelations about Glory and Ben). If Buffy has something within her that is non-human (and at this point, there were hints that the Chosen line had demonic origins), then Glory is effectively the demon within, unleashed and seeking dominion. And what is the key to that dominion? None other than an aspect of Buffy’s human side, rendered flesh and blood.
The spell that Buffy performs is simply a plot device, a means of getting Buffy to the point where she realizes that something is up with Dawn and that things have changed. As a means of communicating intent to the audience, it is also effective. Those who felt that Dawn was a complete violation of continuity were granted a quick and immediate rebuttal. Yet there was also the possibility, laid out in “The Real Me”, that Dawn was something sinister, and that played into the spell’s effects and Buffy’s assumptions perfectly.
By the end of the episode, Buffy is placed in a position of responsibility that portends her role in Dawn’s life by the end of the season. More to the point, Buffy comes to the conclusion that she must protect Dawn as an “innocent”. Metaphorically, if Dawn was created out of the part of Buffy that is completely human, then Buffy is protecting the manifestation of her own innocence and humanity. Seen within that context, her choice at the end of the season is practically inevitable: the Slayer sacrificing herself for the Human.
The other interesting side to Glory is her method of maintaining “sanity”. Glory is effectively a “mental stability vampire”. She uses humans as something of a food source, and without that replenishment, she begins to unravel. That level of analogy makes her just another kind of vampire, and thus the perfect enemy for Buffy to counter, while still on a completely new level of power.
With the plot elements getting the ball rolling on the season arc, interspersed with character shading and a ton of metaphor, this episode is one of the highlights of the early fifth season. Another stage in Buffy’s development is achieved, and the pieces are in place for her sacrifice in the season finale.
Memorable Quotes
DAWN: “Check out all the magic junk!”
GILES: “Our new slogan…”
BUFFY: “I put this before the group. What the hell is it?”
GILES: “It appears to be paranormal in origin.”
WILLOW: “How can you tell?”
GILES: “Well…it’s so shiny…”
GILES: “Xander! There’s too many of them…people! And they all seem to want things.”
XANDER: “I hear ya. Stay British! You’ll be OK!”
BUFFY: “What are you doing here? Five words or less.”
SPIKE: “Out. For. A. Walk….Bitch.”
Final Analysis
Overall, this episode is the highlight of the early fifth season, setting up a number of elements crucial to the season arc while exploring the central metaphors with an unusual amount of subtlety. So much is happening in the episode that it would be easy to miss the foreshadowing, but looking back on the series, this is the kind of storytelling that worked best.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
posted by John Keegan | 18:37
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