The One Who Isn't Chosen (gabrielleabelle) wrote,
The One Who Isn't Chosen
gabrielleabelle

Buffy Came Back Wrong: Wrecked, Gone, and Doublemeat Palace

No clue what this is? Read the first post in the series.

"Mysteriously and in ways that are totally remote from normal experience, the gray drizzle of horror induced by depression takes on the quality of physical pain ... it is entirely natural that the victim begins to think ceaselessly of oblivion."

- William Styron

"I saw the days of the year stretching ahead like a series of bright, white boxes, and separating one box from another was sleep, like a black shade. Only for me, the long perspective of shades that set off one box from the next day had suddenly snapped up, and I could see day after day after day glaring ahead of me like a white, broad, infinitely desolate avenue."

- Sylvia Plath, The Bell Jar

We now turn to what's probably the weakest point of the season. Wrecked, Gone, and Doublemeat Palace. But don't write off these episodes just because they're not up to Dead Things-level or anything. There's plenty going on that we need to pay attention to in order to get what's going on with Buffy.

Just to get things straight from the get-go, this is meta about Buffy's depression. How it affects her, how it's presented in the show, the metaphors at work behind it, why Buffy does bitchy things, etc. Very narrow focus. Obviously, there's a lot of discussion about Spike and Buffy/Spike, but this meta is not about Spike or Spuffy. I'm only looking out how Buffy's depression arc interacts with her relationships, and I'm not giving Spike's side of the story at all.

So buckle in because these next three episodes are important for Buffy's depression arc, even if they're not the most stellar episodes of the season.



Wrecked aka Gah! I'm never doing that again...



If you'll recall, we left off with Smashed and Buffy taking the out presented to her by Spike: that she came back wrong. This gives her an excuse to act out and use Spike to unleash her pent up aggression and anger and hurt. At the same time, this brings her closer to the metaphorical Death that Spike represents.

gillo commented on the last segment that the sex with Spike also acts as a metaphor for self-harm. Let me take that and run with it. Self-harm (or self-injury) most commonly involves cutting, though there's a variety of different harmful behaviors that fall under the umbrella term. Self-harming is a coping mechanism. A bad coping mechanism, but it comes about because an individual hasn't learned any other healthier methods of handling intense emotions.

There's two primary reasons that a person will self-harm:

1. They are so overwhelmed with emotion, they harm themselves physically to enable some form of emotional release.

2. Or, they feel so numb that harming themselves allows them to feel something.

And, as contradictory as it may seem, sometimes both of these reasons work together to compel a person to self-harm. Buffy this season has been numb. She sings as much in OMWF. She's still not over her death. Life isn't affecting her. Isn't touching her. Isn't making any sort of dent in her emotional landscape. So she wants to try to feel something. Walking through the fire and all.

At the same time, though, even though Buffy may not feel them, her emotions are there. Acting just below the surface. And the right catalyst can stir them up until they explode, causing her to act in self-destructive ways. In real life, this may result in a person cutting themselves. In the Buffyverse, it results in Buffy having violent sex with Spike - a soulless vampire who represents both Death and her Enemy at the same time. Sleeping with him, being physically intimate with him, is an innate betrayal of herself as the Slayer. As such, Buffy's actions at the end of Smashed mark her full rejection of her Slayer identity. We'll see her drifting for the next few episodes as a result of this. After all, who is Buffy if you take away the Slayer part of her?

Okay, well that's all set up. Now let's dig into the actual episode.

Wrecked starts with Dawn, actually. Remember Dawn as representing Life? Buffy's reason for living is shown to have been forgotten and abandoned at the beginning of the episode. Buffy was out all night, communing with Death, while Dawn sat at home waiting for her.

Then we see Buffy waking up in the rubble next to Spike. She comes to the realization of what she did the previous night and reacts in disgust.

Let's go back to the self-harm metaphor, because I can tell you that most people who self-harm know that it isn't healthy. And after the fact, there comes a wave of shame for what they did. For the weakness they feel in giving in to such a destructive act. Usually, it's hard to look back on the self-harm and recognize that it wasn't a dream or something. It becomes detached in a person's mind. In that way, Buffy's startled realization that, yeah, she really did have oodles of crazy sex with Spike last night hits home.

With the shame comes guilt and an overwhelming desire to do better. So we see Buffy hurriedly dressing to get home. Her first thought (after finding her shoes) is of Dawn. More importantly, she tries to distance herself from Spike.

Buffy: The hurry is I left Dawn all night. And don't call me love.

Right now, just looking at Spike - being around him - is a vivid reminder of her own failure the night before. She wants to disassociate from what she did, and from him. While Spike is trying to play out the vampire equivalent of pillow talk, Buffy's trying to just leave while at the same time telling him that it will never happen again.

As we'll see, though, self-harming becomes an addictive behavior very easily. After all, as a coping mechanism, it does work in the very short-term. For a while, while she was with Spike, Buffy felt better. And that's more than she's gotten for a long time. So even though there's a big mood crash afterward, Buffy will find herself going back to Spike, craving that comfort that he can provide.

Indeed, at the beginning of Wrecked, Buffy almost gives in to Spike again. However, Spike puts foot firmly in mouth by reminding Buffy of what he is (soulless vampire who, oh yeah, kills Slayers).

Spike: I knew the only thing better than killing a Slayer would be f-

This, with Spike having only a tenuous hold on her, is enough to snap her back to the after-harm stage of guilt and shame.

Spike: Last night changed things. I'm done being your whipping boy.

Buffy: Nothing's changed. It was a mistake.

Spike: Bollocks! It was a bloody revelation.

Once Buffy gets in with Death, he's very unwilling to let her go. Right now, the entire Buffy/Spike dynamic is up in the air. It's constantly shifting, trying to find a stable place to rest, but never quite getting there. Each of them is trying to assert themselves - their boundaries, their desires - but neither of these are constants either. So they're in constant conflict with each other.

Spike: I may be dirt...but you're the one who likes to roll in it, Slayer. You never had it so good as me. Never.

He's not just talking about the sex here. Go back to Buffy's death at the end of S5. Her beloved heaven that she was pulled from. The violent sex with Spike is a faded reminder of that death that she longs for. The death that was better than anything else. Even the use of the word "dirt" is a reference to the ground - Buffy being six feet under at the beginning of the season - where she'll end up (courtesy of Dark Willow) at the end of the season.

Buffy finally gets away from Spike and returns home. Despite her resolve not to slip up this time, she's still confused and unsure of herself. So her behavior towards Dawn is curt and withdrawn. She knows she needs to do better, but she's not sure how. So she makes a cursory attempt to ensure everything's okay before going to bed.

We next see Xander, Anya, and Buffy researching. Buffy is back in Slayer mode. She's taken back on her identity after rejecting it the night before, and she's insistent on the gang figuring out what's going on. Interestingly enough, what they're researching is the Trio's theft of the diamond. The Scoobies think it's a demon at the moment.

So we have Buffy urging the gang on to research...the manifestation of her depression. Oh, Joss, you crafty devil! Or, actually, let's give kudos to Marti for this one. Just cause she doesn't get enough fan-love.

The subject turns to Willow, and Xander and Anya speak critically of Willow's recent behavior. Buffy gets on the defensive.

Buffy: You know, she's going through something, but we're not her. I mean ... m-maybe she has reasons for acting this way. And, so what if she crossed a line? You know, we all do stuff. Stupid stuff. But, then we learn. And, and we learn, and, and we don't do it again. Okay, so, you know, who are we to get all judgey?

Sure sign of a guilty conscience is being overly-defensive. Here, Buffy responds to a criticism of another friend by projecting her own concerns to Xander and Anya. In her response, Buffy notes that she's not going to do it again. Again, she's resolved that there will be no more sex with Spike.

Sidenote: The Willow-Buffy parallel that this episode attempts to make doesn't work for me. I'm not going to get overly-explain-y as to why because this isn't an episode review. Instead, I'll just look at how Buffy is affected by what Willow's doing.

Later in the episode, Buffy learns that Willow's gone to do bad things with Dawn tagging along. Suddenly, her little sister is in danger, and Buffy needs a demon that can sense out Rack's place. Yep. She needs Spike. Despite her resolve not to go to him, she has no choice. The combination of her own Slayer duty and her need to protect her reason for living ironically lead her right back to Death. Hey, much like what ultimately compelled her to take the dive off the tower in The Gift.

When going to get Spike, Buffy attempts to keep things to business. She quickly lets him know the situation and then deliberately turns her back when he stands up (and reveals his nakedness). Resisting temptation.

Buffy: The only thing that's different is that I'm disgusted with myself. That's the power of your charms. Last night ... was the most perverse ... degrading experience of my life.

Buffy's speaking frankly, but truthfully. Think of the disgust of looking back and remembering how you cut or burned yourself, just to feel the pain. That's what Buffy is feeling. This isn't a shiny, happy sexual affair. It's about as dark as sex can be.

However, this conversation continues in an interesting way.

Spike: (smiles fondly) Yeah. Me too.

Buffy: That might be how you get off, but it's not my style.

Spike: No, it's your calling. Gave me a run for my money.

Spike is validating and encouraging her self-destructive darkness. Now, don't get defensive of Spike here. His motivations are at odds with what he actually ends up doing. He's just unaware of the effects of his words and actions. However, we're looking at this from Buffy's depressed point of view. And she has Spike, possibly the most prominent person in her life right now, urging her towards the behavior that is making her disgusted with herself. More than that, he's telling her how good she is at hurting herself.

We then get a bit more of the brutal honesty.

Spike: But I'm in your system now. You're gonna crave me, like I crave blood. And the next time you come crawling, if you don't stop being such a bitch, maybe I will bite you.

Buffy: That, that's it! I want you out of my life! Out of my work, out of my home-

Spike: Too late for that. You invited me in already. And as for your work, you need me. Like tonight.

Buffy: I'll find Dawn myself.

Spike: You really gonna put your little sis in danger just to spite me?

Spike, in much cruder, more offensive terms, discusses what I discussed above. About Buffy's behavior being addictive. She'll have the urge to be with him again. This morsel of painful truth gets a rise out of Buffy. She reacts instinctively by trying to throw him out of her life entirely. Best way to avoid temptation. But as Spike says, it's too late. He's already in, and Buffy's already entangled with Death. He can't be discarded so easily. Also, and perhaps most difficult for Buffy to accept, is that he's needed for her work.

There is a darkness inherent in the Slayer. Death is an integral part of that. So even while Buffy is trying to hold on to her slipping Slayer identity, she finds that it keeps bringing her back to Death, the very thing that's leading her away from it.

The two get down to business, though, when they find Dawn and Willow. Spike immediately rushes to Dawn's side while Buffy takes out the demon. Finally, Spike takes Dawn away while Buffy takes care of Willow. Buffy gives in to Willow's pleas for help, though she's not especially pleased about it.

Even though Buffy's feeling estranged from Willow right now, she still chooses to help her. Cause that's what Buffy does.

In the end, Willow vows to give up her magic, much like Buffy is trying to keep from going back to Spike. Hearing Willow's resolve strengthens Buffy's own, and she goes pretty overboard in the whole "keeping Spike out" thing, hanging up garlic all around her bed and holding onto a cross nervously. Buffy has such a fear that she's going to self-harm again, she's going to great lengths to resist.

Gone aka Death will fix everything...



The next two episodes are very much metaphor episodes. Each one has a central metaphor for depression that is explored. Gone is, almost explicitly, about suicide.

Although Buffy has been dancing with Death for most of the season, she doesn't give many outward signs of being suicidal. While she may not be actively suicidal, there is a more passive desire for oblivion that she's being pulled towards. It's a desire that she feels she can never act on because of her responsibilities...but if it happens to be forced upon her, as it is in this episode, she'll enjoy it for what it's worth.

But the beginning is the place to start. Buffy, Dawn, and Willow are clearing out Willow's magic paraphernalia. In doing so, Buffy comes across one of Spike's lighters. Again, she's still attempting to resist temptation. Do the Right Thing.

After the credits roll, we see Buffy very much having to be the responsible one. Willow's in her pajamas and is shakily dealing with her magic addiction. Dawn is injured and resentful. And Buffy's the one left making sure everybody else is okay.

Even more, though, Buffy feels guilty if she starts thinking about her own issues.

Willow: Okay, I deserve the wrath of Dawn, but...why is she taking it out on you?

Buffy: Because I let it happen.

Willow: Buffy, I was the one who -

Buffy: Who was drowning. My best friend. And I was too wrapped up in my own dumb life to even notice.

One thing I've seen time and time again with people with depression is that they feel compelled to minimize their own problems. I know I put off going to a doctor for years because I would compare my life situation (which was pretty spiffy) to other people's (which sucked) and I decided that I was just being whiny and selfish in feeling bad about my life. After all, what did I have to complain about when other people were going through so much worse?

Likewise, Buffy now has concluded that Willow's going through Real Problems while she's just being whiny and self-pitying. She takes it farther, though, and she blames herself for Willow's problems and for Dawn getting hurt.

If you're in a depressed state of mind, you can find a handy way to blame yourself for everything

Spike enters just about then. The temptation that Buffy was trying to avoid happens to make an appearance at her house. Buffy wants nothing to do with it, though.

Spike: Yeah, well, the fact is my lighter's gone missing. Thought it might have, uh, dropped outta my pocket the last time I was here.

Buffy: Haven't seen it.

But she has. In fact, she has it in her pocket. However, there's a bit of a guilty pleasure in keeping it to herself.

Personal anecdote time! When the new meds I was on set me off to cutting, it eventually became a thing and got back to my parents. They went through my room and took away all sharp objects. You know, so I could avoid temptation. But I managed to keep an emery board as kind of a reserve. Something I could self-harm with if I really needed to.

Cause remember, self-harming is a coping mechanism. And there's always a fear that one will be in a situation without any way to deal with it. That's why I kept the emery board, and that's why Buffy wants to hold onto Spike's lighter. It's not exactly what she wants, but it's something.

Once Willow exits stage right, Buffy, in a resigned voice, calls Spike on his lame excuse to come see her. As she did at the beginning of Wrecked, she attempts to distance herself from Spike.

Buffy: Stop trying to see me. And stop calling me that.

Spike does his sexy thing, though, and presses his luck in getting closer to her.

Things get interrupted by Xander. And Dawn. And then enter Ms. Kroger.

Just as Buffy's trying to keep everything together and avoid temptation (which is standing right in her kitchen), Social Services sends somebody over to evaluate her. For Buffy, failure is probably a foregone conclusion. She already failed as a friend to notice when Willow was in trouble. She failed as an older sister in keeping Dawn safe. She's failed as the Slayer in keeping away from Spike. And she fails with Ms. Kroger from the get-go in mixing up when the visit is supposed to be.

So Buffy has that sinking feeling of dread when meeting Ms. Kroger. She knows how things will turn out. And, as predicted, they turn out worse than badly. Ms. Kroger talks of recommending immediate probation, which could easily lead to Dawn being taken away unless things improve.

Buffy has no hope that things will improve. So as Ms. Kroger walks out the door, Buffy feels that she's already losing Dawn.

Spike appears, trying to play the confidant role that he'd been in earlier, but Buffy's not willing to go back to that. She harshly tells him to leave. After all, she wants him completely out of her life.

Spike, though, grabs his lighter before leaving. Because if she wants him gone, he'll take all of himself out of her life. She'll be left with nothing. No way to cope or handle things.

Buffy has a freak out and runs to her room to cut off her hair. This is spurred on by Spike's comment that he loves her hair. If he loves her hair, and she is trying not to be with him, then cutting off the hair is the easiest way to do so. Even more, though, it's a change.

Hair stylist: What exactly would you like me to do?

Buffy: Just make me...different.

Remember Buffy's lack of coping strategies? Here she's trying to change herself by changing a minor physical attribute: her hair. Obviously, this won't do anything to improve her situation, but it's all Buffy can do at the moment.

It's at this point, right after Buffy's made her own attempt at coping, that the Trio step in and accidentally make Buffy invisible. Suddenly, Buffy gets the metaphorical death that she couldn't even consider before.

As soon as she becomes invisible, the burden of dealing with life is lifted. She can give in to her childish urges without consequence. Best of all, she can avoid responsibility because, hey! She's invisible!

Xander: ...wait a sec. Have you been feeling...ignored lately?

Buffy: Yeah, ignored. I wish.

Indeed, much the opposite. Life's been throwing too much at her and she doesn't know how to handle it. The invisible blast gives her an out. Like when she was dead, she doesn't have to deal with anything now.

We immediately see Buffy's problematic attitude towards what's happened. Xander's worried, trying to figure out what happened and how. Buffy, though, is just having fun. She appears to have no desire to fix things. Obviously, being dead is more appealing than being alive.

It's interesting that Buffy's first impulse is not to use her invisibility to fix her problems. Instead, her first impulse is to...goof off. Going into the park and messing with people, stealing a cop's golf cart. Buffy has been so bogged down with responsibility and serious problems and taking care of other people, she's not had any opportunity to have fun. Now that she does, she takes it to some iffy places.

She does eventually make it to Social Services, though, to take care of Ms. Kroger.

Now note what's going on here. Buffy has a huge problem in this episode: Dawn may be taken away. Buffy solves this problem not by getting better, but by magically sabotaging the social worker. This is very, very far away from Buffy the Hero.

In a twist, Buffy achieves her goal by convincing Ms. Kroger's boss (and Ms. Kroger) that she's crazy. A bit of projection?

After Buffy takes care of that problem, her next stop is Spike's crypt. Visiting Death after ensuring that her reason for living will be able to stay with her.

Taking the invisibility as a metaphor for death, if Buffy's dead, then there are no problems with banging Spike. She has no duty as the Slayer anymore, so it's not betraying her calling. And if nobody can see her, nobody can make her feel shame for it.

So Buffy bursts into Spike's crypt and roughly initiates sex with him, giving in to the desires she'd been resisting since the last episode.

While this is going on, we're filled in that Buffy's metaphorical death will eventually be very, very literal unless it can be fixed.

Xander visits Spike to try to find Buffy, and we get the humorous scene that I'm sure I don't need to summarize.

What's important to note is how Buffy is still playing around with Spike while he's talking to Xander. She's almost flaunting the fact that she can do so without Xander catching on.

Let's get metaphor-y here. Isn't that what Buffy's been doing all this season? Flirting with Death while her friends are oblivious? Buffy's in the depths of a deep depression, but nobody seems the wiser about it. Instead, everybody's attention is taken up with the wedding or with Willow. In some ways, what Buffy's doing with Spike in front of Xander is what's been going on since she came back from heaven. It's what she'll do again in the balcony scene of Dead Things. She's getting intimately acquainted with Death and her friends...just don't notice. They don't put the clues together.

Of course, Spike is the wet blanket here because he gives Buffy a good helping of Brutal Honesty.

Spike: This vanishing act's right liberating for you, innit? Go anywhere you want. Do anything you want. Or anyone.

Buffy: What are you talking ab-

Spike: The only reason you're here, is that you're not here.

Exactly. Spike nails it. He goes on to nail it some more.

Buffy: Right. Of course, as usual there's something wrong with Buffy. She came back all wrong. You know, I didn't ask for this to happen to me.

Spike: Not too put off by it though, are you?

Buffy: No! Maybe because for the first time since ... I'm free. Free of rules and reports ... free of this life.

Spike: Free of life? Got another name for that. Dead.

And we have made the metaphor for the episode explicit. Yay!

Right about then, though, Spike kicks her out. Kinda like how Buffy was expelled from heaven at the beginning of the season. Rejected by Death.

Buffy: He threw me out? He threw me. Did I, like, fall into some ... backward dimension here? Is this Bizarro World? And after he's always going on and on about being the only one that understands me. 'We're alike, you and me. Birds of a bloody feather.' Uh! He's so...

So even in her fun-loving, freedom-enabling invisible/dead state, she's not able to be close to Spike in the way she wants. So she goes back home, hoping to be close to Dawn. Her very state, though, freaks Dawn out.

Let's go back to that metaphor. Dawn sees Buffy as invisible (dead) and isn't able to handle it.

Dawn: I can't talk to you like this. I can't see you! How can I talk to you if I can't see you?

Again, isn't this the way it's been for the entire season so far? Buffy's depression has put a distance between them. Dawn isn't able to talk to Buffy anymore. And now, Buffy has it explicitly spelled out for her how distressing this is to Dawn.

Moving on to the episode, Buffy gets the news that she's going to fade to nothing. But she gets a phone call from Jonathan and has to go rescue Willow.

A fight happens. Buffy discovers the identity of her persistent pests.

This reveal is pretty important. In this episode, Buffy has been shown the effects her depression has on others, most especially Spike and Dawn. Remember the Trio act as representative of Buffy's depression. It's appropriate that she learns their identities in this episode when she's also learning the depths of her own problems.

Buffy: I still have to do some damage control from my giddy-fest. Dawn was pretty freaked out. The whole taking-a-vacation-from-me thing didn't work out so well.

Willow: Tell me about it.

Buffy: Except ... when I got Xander's message ... you know, that I was ... fading away ... I actually got scared.

Willow: Well, yeah. Who wouldn't?

Buffy: Me. I wouldn't. Not too long ago I probably would have welcomed it. But I realized ... I'm not saying that I'm doing back-flips about my life, but... I didn't ... I don't ... wanna die.

I've read some criticism of Buffy's depression arc stating that it seems to have several different endings but just keeps getting dragged out. Like in this episode, Buffy realizes that she doesn't want to die, but then she seemingly gets worse.

Thing is, depression is like that. It's very much a "one step forward, two steps back" thing. Buffy comes to the conclusion that she doesn't want to die. But she also doesn't know how to live. There's no neat and clean way to get through it. It's messy and often contradictory and, with depression, you almost always get worse before you get better.

So Buffy doesn't want to die now. That doesn't mean she wants to be alive.

Doublemeat Palace aka This will never end...



The previous episode dealt with suicide. This episode deals with another aspect of depression: monotony. Mind-numbing monotony.

It's no joke when people say depression is like being in a fog. You can't see the future. All you have is the present moment. And you assume that all your future moments will be like the present ones: unbearable.

Because there is something past the tear-inducing angst and misery and that's boredom. Complete shutdown. And in some ways that's worse because when you're sad, you're at least feeling something. When you feel nothing...well, there's no point living when you're like that.

In this episode, Buffy gets herself a job. After the revelation of last episode that she doesn't want to die, she has to figure out how to maintain the whole "being alive" thing. And one key part of that is finding an income. I suppose we're fortunate that she didn't go for a quick fix while invisible and steal from a bank or something. Instead, she's trying to do it the honest way.

While this job is a way to get herself out of her funk, it often seems like it's gonna trap her in it.

Manny: In it for life. Like me. You wanna get something out of this, Buffy? You'll do the same. You put the work in, and ten years from now, you'll be where I am.

Well, that's an appealing notion.

I've had the unpleasant experience of being in a job that only exacerbated my misery. And I knew I was stuck there. Presumably for the rest of my life (because, hey, not thinking that far ahead). It becomes a roadblock to recovery because suddenly that job just seems like more of the same instead of the solution it's supposed to be (by bringing in some money).

There's a lot of shots of Buffy being hypnotized by the repetitive fast food processes. Meat slicing or frying or whatnot. Again, the monotony is what's being commented on here.

When the Scoobies stop by to cheer Buffy on, Buffy happily gives them a free meal - a double, even. A reflection of the way Buffy is putting aside her own issues to try to make everything okay for everybody else. She's giving handouts at her own expense.

In contrast, when Spike stops by, she immediately tells him to leave. No handouts for Spike.

His interest in her has come back after he kicked her out in Gone. And Buffy's back to being reluctant to associate with him. He's a reminder of what she's trying to fight against inside herself.

Spike: Some demons love 'em. The way they vibrate makes the skin twitch. That the kinda demon you are, luv?

Buffy: I am not a demon. I don't know why you can hit me, but I am not a demon.

Buffy's maintaining her aura of responsibility. She's not a demon. She's not the type of girl that would mess around with Spike. She's making money for her family. And she's generous with her friends.

Spike: Buffy. You're not happy here.

Buffy: Please don't make this harder.

Spike: You don't belong here. You're something...you're better than this.

Buffy: I need the money.

When confronted directly with the Truth, Buffy's facade breaks. She reveals to Spike that no, she's not happy and that it is hard but that she has to do it. If she lets him help her, then she's giving in.

The next day, Buffy gets chosen to do a double shift. After having to man the fryer and grill and with the prospect of nothing but continuing drudgery ahead of her, Buffy reaches her breaking point. When she sees Spike outside, she goes out to meet him during her break and partakes in some Spike sex.

Remember the coping mechanism. Buffy needs a release and so she's turning to the only option she feels she has available to her. But we see in this episode that it's not entirely satisfying. The sex is muted and Buffy looks almost bored. Self-harm doesn't always work as a coping method.

Later in the night, Buffy discovers a finger in the meat grinder and subsequently loses her shiny new job after a bit of chaos. This job loss doesn't seem to faze her because Buffy is able to go into Slayer mode. She calls a Scooby meeting to try to figure out what's up with the finger.

In an appropriate twist, the monster for this week is able to paralyze its prey. See? Paralysis - monotony - stuck in place...metaphors!

In the end, Buffy manages to snag her old job again. She's still not thrilled with it, but she's resigned to the necessity.

Next up: Dead Things and Older and Far Away

Buffy Came Back Wrong: Bargaining and Afterlife
Buffy Came Back Wrong: Flooded and Life Serial
Buffy Came Back Wrong: All the Way and Once More, With Feeling
Buffy Came Back Wrong: Tabula Rasa and Smashed
Buffy Came Back Wrong: Wrecked, Gone, and Doublemeat Palace
Buffy Came Back Wrong: Dead Things and Older and Far Away
Buffy Came Back Wrong: As You Were and Hell's Bells
Buffy Came Back Wrong: Normal Again, Entropy, and Seeing Red
Buffy Came Back Wrong: Villains, Two to Go, and Grave
All Entries

Tags: btvs: meta, buffy came back wrong, i love s6
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