Obviously, best episode ever.
I found it interesting that the show violated the standards of most musicals, enabling everyone to hear others’ revelations through song, whereas most characters in real musicals do not realize the conclusions that are come to (although, while Anya and Xander hear each other, Buffy doesn’t hear Giles, so I guess Whedon only lets them hear when it suits him).
It made me kind of disappointed that musical forced the show’s characters to communicate about the issues they are having, like Whedon was kind of undermining the character growth by throwing everything out there before the Scoobies were ready. But then again, this also forced them to deal with their problems, escalating the tensions between the characters, and bringing the storyline to a head, as we see in Tabula Rasa. These tensions were somehow lessened, however, by the melodrama of the episode – the revelations were comical, despite their somber nature. Xander and Anya confess their doubts about each other through song and dance, which later results in him leaving her at the altar. Buffy confesses that she’d been in heaven in the same manner, something that she had been concealing from her friends for a long while. For such dramatic issues to be revealed in such a way robs them of some of their impact.
Another thing I appreciated within the episode is the demon’s “Life is but a song,” a probable reference to “All the world’s a stage, and all the men and women are merely players,” from Shakespeare’s As You Like It. I found this appropriate, considering the themes of exile (like Buffy’s from heaven, and the feelings of exile and solitude in her own life), woman power (Buffy, like Rosalind, is a badass), and disguise (like how Buffy has to conceal her identity from the world). It’s also telling that the play is a comedy – even though things might seem dark, they all turn out okay in the end.
And finally, to tie this in to The Nutcracker:
Obviously, The Nutcracker isn’t simply a happy-go-lucky Christmas tale full of pretty dolls and toy soldiers and sugarplums – why else would we read it in a class about gothic literature? The Nutcracker is all about subtext – the creepiness of Godpapa Drosselmeier’s interactions with the children, and Marie’s child marriage, for example. “Once More With Feeling” follows a similar pattern – though, on the surface, a musical world seems harmless, it’s made sinister by the fact that it’s caused by a demon, and can cause one to burst into flame. It also takes a page out of the child marriage handbook with Dawn and the demon. Innocence is a façade for something much more macabre.
It’s been a blast. Good luck with finals!
<3 Lisa
I agree with your comparison of the musical to The Nutcracker. I have to disagree with your first paragraph though. Characters don't always hear others singing in musicals, but they often are aware. Just as Whedon does, the writers of musicals can pick and choose what is heard and what is ignored to achieve a desired effect. I would also argue that at least at the beginning of their song, Xander and Anya don't hear each other. When she first starts singing, Xander is talking to himself under Anya's voice. There's also the fact that, while they do often look at each other, they do seem to be singing to a third party and not to each other. So they appear able to tune in and out of each other's songs.
ReplyDelete