The thing that has stuck with me from “Tabula Rasa” (aside from the extremely grating quality of Michelle Branch’s voice), is how even when the Scooby Gang has no memory of who they were, they still retain certain aspects of themselves. According to Jacqueline Reid-Walsh, “the Gothic taps into unconscious needs and fears”(503). And though that is one of the more obvious points of the episode, I think by maintaining those attributes at the heart of his characters, particularly Buffy’s “I’ve got this under control” attitude and Willow’s attraction to Tara, Joss Whedon is making a larger statement about their roles in the show.
In her article entitled “Power Girl/Girl Power: The female action hero goes to high school: a review of the television show Buffy the Vampire Slayer” Reid-Walsh highlights how “young women...prefer stories with strong, active female protagonists”(503). Obviously, Buffy fits this description perfectly. She’s feisty, funny, and “has a black belt in Tae Kwan Do.” Buffy is on the surface, many things young girls should and do aspire to be. This idea is only perpetuated further as Buffy/Joan maintains these characteristics. Even though she knows nothing about herself, she still tries to be the ideal “ female protagonist” (503).
However, this episode shows Willow in a far less positive manner. The beginning depicts her as nothing short of a magic addict. Though she believes she is doing good, her actions are extremely selfish and almost immoral Young female viewers are far less likely to connect to Willow, as she is on a downward spiral in her life, though as the Scooby Gang, and especially Tara discover, it is difficult to dislike a formerly beloved character. It is also interesting to that when her mind is wiped clean, she retains not her attraction to magic, but her attraction to Tara. So in her most natural state, Willow’s “unconscious needs” are for love (503). A concept as fabled as magic, but far more true. So to return to this idea of the “unconscious,” “Tabula Rasa” solidifies this Gothic convention(503). It made me wonder what I would remember if my mind was magically wiped clean. I’d like to think that I would hold onto positive qualities, maybe even things I don’t know I have. As this episode shows us, sometimes it’s the things we take for granted that are actually the most important. These are the things we should get hooked on, not the superficial stuff.
Also, just so we’re clear. Drugs are bad. Live above the influence.
Is Buffy really the ideal feminine protagonist though? Don't get me wrong, I love a girl that can kick a little ass, but by assuming that all she is good for is the physical, aren't we reverting to a premodern understanding of women as merely vehicles for reproduction and the physical act of sex? I don't know that I agree that Buffy, who hates books and focuses on the purely physical act, is that far departure from societal norms that focus on men as the lofty intellectuals and women as more connected to a earthy, physical life. Just sayin'.
ReplyDeleteI'm not trying to make a case that Buffy is the perfect protagonist, rather that she "tries" to be one and "is on the surface, many things young girls should and do aspire to be." We know she's not just physical, despite the fact that she consistently tries to leave the brainy stuff to Giles. It seems a bit of a leap from tae kwan do to sex vehicles. She's ideal because at the end of the day she cannot avoid using skills in both departments. Just sayin'.
ReplyDeleteI think the word "inherits" is more correct than "tries" in describing Buffy as a female protagonist. Tabula Rasa wipes all the character's memory away, so they all revert to their default personality. For Buffy, that default personality is to be a leader, a protector, a hero. We have learned that hero is born with, not trained to be. Thus, Buffy doesn't need to try to be the female protagonist.
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