EPISODE 2.03
FIRST IMPRESSIONS
Written by:
Shawn Ryan
Directed
by: James A. Contner
Who looks after the strong?
As I have previously observed, ANGEL has
to date offered us no real story arc. Instead, with the exception of the Faith
two-parter, each individual episode has comprised a single, self-contained
story. I have also noted the comparatively sparse use that the writers of these
stories have made of sub-plots. They have preferred to focus on developing a
single line of action in a logical sequence. These two factors have meant that
each episode has been very cohesive; able to concentrate on a single idea or
theme developed through the one storyline. On the other hand BUFFY episodes
often use a sub-plot as a parallel or
counterpoint to the principal plot, thus throwing additional light on it. This
technique adds rather than detracts from the focus of the episode
concerned. ANGEL itself has, on occasion, done same thing to good effect.
If you regard the story of what happened to Angel after he regained his soul as
the sub-plot of "Five by Five", powerful use was made of it to explain
and explore the journey Faith made some one hundred years later. And when a
sub-plot can, while performing this function, simultaneously be used to advance
an arc, then so much the better.
This is what we see in "First
Impressions". In this episode there is a clearly defined "A" and
"B" plot. The former follows Cordelia Chase as she struggles to save
Charles Gunn from himself. The latter concerns Angel's disturbing yet, for him,
oddly pleasant dreams of Darla. At first sight there appears no thematic
connection between them. But at the end it is made obvious. Both plots pose the
same question: who looks after the strong? By seeing how the "A" plot
in particular approaches this
question we can better appreciate the point that the "B" plot is trying to make.
And the bonus is that the "B" plot also launches ANGEL into its first
fully fledged story arc by revealing exactly how Darla is to be used to
undermine Angel's mission on behalf of the Powers that Be.
Gunn and his quest for self-destruction
The "A" plot is little more than
a thinly disguised character study of the most under-developed member of the
quartet: Charles Gunn. Since "WarZone" he has been an ever-present
character but he has really only been used as a plot device. Here we get some
really serious character exposition. And the really good thing about this is
that the writers have taken up the threads we first saw in WarZone and used them
to flesh out his personality. In doing so they have created a three dimensional
individual who was recognizable as the character we were introduced to in
"WarZone" and whose strengths and weaknesses are credible both in
themselves and in someone who was a product of the sort of environment he came
from.
In "WarZone", Gunn and his
little band are fighting what seems to be a loosing battle. Angel himself seemed
certain of it and he said it several times. “Some of you will die, maybe all
of you”. The interesting thing is that no one contradicts him. None of the
gang members, least of all Gunn, seem to harbor any illusions. They all appear
to be quite fatalistic about their future. When Angel says he can help them:
“unless of course death is what your after. Then you’re on your own.”
Gunn’s only reply is
that he is always on his own. It is better to die than to accept help from a “some
middle class white dude that’s dead”. But this sense of fatalism wasn't only
driven by the street kids' sense of being alone. Gunn's sister, Alonna, at one
point said that Gunn was only in it for the fight. It did indeed seem that he
didn't care what happened to him because he did not fear death. The death of
Alonna, however, did seem to change his attitude in this respect. Gunn was no
longer willing to throw away the lives of his people. But the sense of being on
their own remained as strong as ever. This is shown by the exchange between them
at the very end:
Gunn: "I don't need no help."
Angel: "I might."
In our very first view of Gunn in
"First Impressions" he reinforces this idea of a clear gulf between
himself and the members of the Fang Gang. He treats them all with suspicion,
even Angel for whose help he has come. The whole scene between himself, Cordelia
and Wesley and latterly Angel and Nabitt is a wonderful example of Gunn's
distrust of the outside world. You can, I think,
get a flavor of it from the following exchange:
Gunn: "Whatcha doin' man, we need to move on this.
Angel: "Relax, we'll make it."
Gunn: "Relax? Every time you ask me
for a favor I'm right there. First time I need your help your'e snoozin'
the afternoon away. What's up with that?"
But at least he can just about bring
himself to work with Angel because he recognizes his power to help and, after
the events in WarZone, he was the one doing the favors. This obviously appealed
to the sense of pride he had in what he was doing. His attitude now seems to be
that he is calling in a marker. On the other hand, for Wesley and Cordelia
(C-3PO and the Barbie stick figure) he seems to have little or no time, either
as individuals or as members of a team:
Angel: "Cordy, you're drivin'."
Cordelia: "Me? Drive you're car? So cool."
Angel: "Wesley, we're gonna
need some bribe money. There's some cash in the box."
Gunn: "Hey, wait a
minute."
Angel: "I thought you wanted
to move on this?"
Gunn: "Which is why we are
not takin' these two. They'll slow us up."
Angel: "We go up against Deevak, we're gonna need the entire team."
Wesley and Cordelia are not just
outsiders. they are liabilities and Gunn has no time for people like that. He is
openly dismissive of them, without apparently knowing very much about them at
all.
The picture we get here is of someone who
is suspicious of outsiders but self-assured in himself and his own abilities. He
will accept help but only on his terms. In this respect we have
considerable continuity between "WarZone" and "First
Impressions". But the writers only use this as a starting point. This is
the surface Gunn only and the rest of the episode is spent getting past the
upper layer and into the real man. For this purpose the most effective scene
was when Gunn and Angel started to interrogate the supposed stool pigeon, Jameel. Both Angel and
Buffy have often used violence in a very deliberate way to extract information
from people. That was not, I think, what we saw here. When Jameel refused to talk I think Gunn just lost it. He didn't grab him and start exerting
increasing pressure or pain to convince him to co-operate. He struck out in
anger. Angel is certainly not the squeamish type when it comes to inflicting
pain to get results. But he felt obliged to step in because he could see that
Gunn was not acting rationally. As he asks him:
"What are you doin'?"
It was the suddenness and unexpectedness
of Gunn's action that made it so effective. He is supposed to be one of the good
guys yet here he was acting as a bully. His violence was uncontrolled. The man
he was beating up was much smaller than he was and wasn't a bad guy (at least so
we thought). He was just frightened. We were brought up short and forced to ask
what is wrong with Gunn? This was the defining moment for the "A"
plot. It set the basic direction of the story and everything else flowed from
it.
There was nothing else in the episode
quite so shocking but, as we followed Gunn in his search for Angel's car, more
and more things started to fall into place adding to and explaining this initial
outburst. First of all there was Gunn's attitude towards his neighborhood and to
the outside world. In the scene in the parking lot he was quite relaxed about
crimes against outsiders, especially affluent outsiders. Stealing cars from his
own people was a very different matter:
Gunn: "Where did you 'jack these
cars from?"
Guy: "Around"
Gunn: "They look like neighborhood
cars to me."
Guy: "Oh, I help you out, now you
want to start somethin'."
Gunn: "Look, I told you. You want
to 'jack Beemers in Brentwood, be my guest. But leave the neighborhood cars
alone."
Then there was the scene at the party
where he got very defensive when Cordelia (insensitively it must be admitted)
asked him whether he was friends with every criminal in town. He immediately
jumped to the conclusion that she was saying that all "brothers" were
criminal. He himself is only too ready to assume that David Nabbit must have
been a criminal to become a billionaire and is openly scornful of Cordelia's
protestations about his charitable works. These exchanges help identify even
more strongly than the earlier ones in the Hyperion just what Gunn knows as home
and who his people are.
And over "his people" he
exercises an almost imperial authority. He orders the car thief to leave
neighborhood cars alone and when he doesn't get the answer he wants from him he
is very forthcoming with the threats:
"Things don't change I might have to think of putting you out of
business."
As the car thief later tells Deevak:
"He's under the false impression that he runs this town."
When he met one of his gang who had
ignored his orders and went to a party instead of patrolling he is equally
tough. This prompted even Cordelia (who herself can be somewhat high handed) to
protest:
"Geeze, short enough leash or do you
just go all warm and tingly on the power trip."
For her pains she was effectively ignored
and Gunn started to give orders to her. In all of this he is appears arrogant,
sure of himself, sure of his abilities and sure of his power to compel
obedience. It is a very hard, even harsh exterior. But it is not too long before
we begin to see just how brittle that exterior is.
There is another side to Gunn's attitude.
In the way he took offence at stealing cars from the neighborhood we already got
a glimpse of his protectiveness of his people. But the aftermath of the fight at
the Party showed just how deeply he feels. In particular the scene in the
Hospital where he beat himself up over the near death of Vanessa:
Gunn: "She almost died."
Cordelia: "But she didn't."
Gunn: "No thanks to me."
Cordelia: "It wasn't your fault."
Gunn: "I let my guard down and she's the one...".
This, I think, is the key to understanding
Gunn. Yes, he is hard on his "subordinates". But that is because he
doesn't want them dead. As he says himself:
"Some people need discipline to survive."
He also doesn't want them getting other
people killed through negligence or what he would see as cowardice. When
challenged about his treatment of Jameel, Gunn's answer is direct. He
was doing what he had to. He had people dying. He wasn't going to stop at
anything to save them. And no matter how hard he is on others he is always twice
as hard on himself:
"I can't take it easy. I can
never take it easy. Not for a second, alright. The minute I forget that
someone like Alonna pays the price."
This was a man with the weight of the
world on his shoulders. And this sense of responsibility extended even to
Cordelia. I do not need to waste time describing just how much of an irritant
she was to him. From his point of view she didn't have a clue about what he was
doing or why he was doing it. Worse she knew nothing about his life or that of
others in the neighborhood. And yet she was continually free with her advice.
Worst of all she had come to him on some wild goose chase, hurt one of his men
and ended up by getting her car stolen. Nevertheless he felt sufficiently
responsible for her to use an entire evening of his valuable time, when I am
sure he had better things to do, helping her track it down.
And because of his feelings of
responsibility, he can allow himself no weaknesses. This is why he has to he has
to show the flint-like exterior to the world. That is why he is so brutal to
anyone who lets him down. That is also why he has to constantly deride what he
perceives as weakness, whether that be in the form of the prissy English
ex-Watcher or the "Barbie stick figure." It is also why he resents
help. Even when he accepts it from Angel he isn't happy about it. But what
really annoyed him was when Cordelia tries to save him. As he says
sarcastically:
"It always enhances a guy's
rep when some skinny white beauty queen comes to his rescue in front of his
crew."
Above all this explains why he doesn't
understand concepts such as team work. The idea than an individual needs to rely
on others to complement his strengths with their own is totally foreign to his
way of thinking. It is because of this that he was so unwilling to see Wesley
and Cordelia go with himself and Angel to see Jameel. Wesley's remark
that he was riding "shotgun" passed right over his head. And in this
context it has to be said that the pathetic performance that the Fang Gang put
up against the first Vampire attack would have, if anything, reinforced his
prejudices.
But, just as in "WarZone" he
cannot escape the feeling that no matter how hard he fights or how careful he
is, he is loosing. As he says to Cordelia:
" I can't stop 'em. I can't ever stop 'em."
When Cordelia was trying to convince Gunn
he was in danger, she told him:
"Whether you want to
believe it or not you are in big time danger. I'm vision girl. I saw you. You
were at the end of your world, fighting for your life. And you were so
scared."
His reply was:
Gunn: "See, now I know you're trippin' 'cause I don't get scared."
But the truth was that he was scared, not
for his own life but because of the fact that events were out of his control.
His people were dying and there wasn't a thing he could do about it.
It is all of this, but especially the
feeling of helplessness and the anger within him that it generates, that leads
him to the recklessness with which he behaves at times. In single combat he
didn't have a chance against Deevak. But that didn't stop him. Angel himself
said:
"If we
go up against Deevak we're gonna need the entire team."
But Gunn took him on single handed. And it
was only because he had the Fang Gang there to back him up that he survived.
Even so he seemed less than grateful. Here I find very strong echoes of
"WarZone". I almost got the feeling that Gunn would welcome his own
death because it would bring an end to the pain he experiences through seeing
"his people" die nightly, without being able to do a thing about it.
I have to say I found this picture a
compelling and convincing one. Yes, the idea of a leader who takes his as
responsibilities as seriously Gunn does and holds himself to blame for
everything that goes wrong is a little hackneyed. And certainly Cordelia's
little speech to him at the end did constitute hitting us over the head with
the message, as if we couldn't be trusted to pick it up ourselves.
Cordelia: "Deevak wasn't the danger
my vision was warning me about."
Gunn: "It wasn't?"
Cordelia: "No."
Gunn: "Then what was?"
Cordelia: "I'm looking at it. It's
you, Charles. You're the danger."
Gunn: "Excuse me?"
Cordelia: "It's how you live your
life. You don't just face danger, you create it. You're on a self-destruct
mission unless you get some help."
But in context the characterization we see
in "First Impressions" seems just right for someone like Gunn. It
preserves continuity with everything we have seen about him before but adds
considerably to our knowledge of him in a very coherent fashion. It shows him as
a real individual with real strengths and real flaws. And what I always like
most about such a development is that the weaknesses are the obverse side of the
strengths. Moreover the fact that Gunn still "ain't buyin' none of this
Dionne Warwick crap" is, as usual, the ANGEL writers refusing to take the
easy or quick way out of the corner they paint their characters into. Gunn was
given an object lesson in the advantages of teamwork. Even so this and the way
Cordelia followed it up by challenging him to look into himself was still not
enough to produce a change of heart. This is good and realistic writing. It is
exactly the way someone with those sort of deep seated anxieties would react.
All in all I would say this bodes very well for Gunn as a character.
Cordelia as mother hen
In all of this, the part Cordelia plays
should not be forgotten. The "A" Plot is, of course, principally about
Gunn and it would be unnecessarily distracting to try to do too much with her
character in it. Nevertheless the part she plays here shows her character off to
very good advantage.
It is of course a dramatic convention that
characters who are intended to fall in love start out hating the sight of one
another. This allows the audience to explore and understand the growing mutual
attraction at the same time as the characters themselves. And admittedly the way
that Cordelia and Gunn sparred together throughout this episode fits this
convention very well. I have to say, however, that I do not see anything here
which suggests to me that the writers are going down that road. There is nothing
in her attitude towards Gunn that isn't a reflection of the attitude she has
towards Angel - a friendship borne out of shared dangers, mutual dependency and
a compassion for the fact that the other has personal demons to deal with.
Cordelia is the most balanced individual
we see on ANGEL. Of course she has had her share of problems. But thwarted
material expectations are not in the same league as the insecurities and fears
driving Angel and Gunn, for example. And in any event Cordelia is the most
self-possessed and self confident of individuals. She has a hard, practical
streak to her that allows her to cope with almost any difficulty. This was the
girl who, after being hung upside down and nearly sacrificed in WSWB, could only
complain about her inability to get the stains from her dress. All of which
makes her the ideal foil for Gunn.
At first, her only interest in him seems
to be a sense of duty. She saw a violent vision of him in danger and her newly
honed empathy with a humanity in fear and danger took over. As she said to Gunn:
"The things I've seen; sometimes I get downright terrified and right now
I'm scared for you."
But at this stage she didn't think much of
him. He seemed brutal, rude and unfeeling. For his part she was a liability
getting in his way. She and the way she thinks were also entirely alien to him
and just how alien is shown by the way she behaved like a fish out of water at
the party he brought her to. On a social occasion like this she should have been
at her best but every time she opened her mouth she put her foot in it, even
down to asking for the hors d'oeuvres. Nevertheless she was not intimidated by
him and she would not be put off by him. That was why they sparked off one
another so effectively throughout the episode.
But there is another side to Cordelia's
practicality. It allows her to make the most accurate observations of people.
Remember she was able to read Angel acutely after Doyle died. She sees things
and people as they are, not as she would like them to be. While her initial
impression of Gunn was not favorable, she did see below the surface to the real
person inside; someone who is damaged but someone who is of real substance. And,
as we found out in "Bachelor Party" and later, she also recognizes and
appreciates substance in a person. In particular she would see self-destructiveness
in Gunn as an unforgivable waste. Moreover, just as with Angel's
feeling of isolation in "To Shanshu in LA", she is also the sort of
person who would want to do something about it.
And in this context one thing did change.
Gunn may not have bought what Cordelia was saying to him but I think his
attitude towards Cordelia certainly did change. It wasn't so much her evident
good intentions towards him as the way she proved that there was more to her
than he bargained for. While I suspect that Gunn himself was close to panic when
Vanessa was injured (and certainly he wasn't that much help to her) Cordelia was
in her element. She was cool, calm and collected as she did the right thing at
the right time, right down to the way she whispered to Gunn that she had to be
taken to the hospital "now". Even then she was thinking about not
causing panic to Vanessa. Then there was they way she refused to abandon Gunn to
Deevak and helped Angel to kill the demon. It was all very impressive and the
lesson was not, I think, lost on Charles Gunn. The relationship between these
two will indeed be very interesting to watch.
Angel goes on Holiday
The "B" plot no less than the
"A" plot was an exercise in characterization, this time for Angel.
Again, as with Cordelia, the writers wisely did not try to do too much. Instead
they concentrated on setting up what is evidently going to be the first major
story arc of ANGEL as a series. But the truly clever part about the writing was
that they were able to do so in a way which fitted thematically so well with
Gunn's story. At first it didn't seem so. Indeed, initially Angel's behavior in
"First Impressions" seemed inexplicable.
Angel has come a long way since Whistler
found him in the gutter in New York 1996. He has endured enormous physical and
psychological suffering, great disappointments and undergone huge tests of will
and nerve. He has passed through them all. He has made great sacrifices. And
because he was willing to do this he has now, for the first time in his existence,
gained a purpose, something he can take pride in. Remember how in "the
Prodigal" Liam's father said:
“I am ashamed to call you my son. You’re
a layabout and a scoundrel and you’ll never amount to anything more than
that.”
Well, Angel has long since disproved that with a
vengeance. And because he has done so he has the most important, the most
eagerly desired goal of his life before him. He is now on his way to his own
redemption and with it the promise of humanity.
What then is he doing with Darla? What is
disturbing is not that he sees her in his dreams. It's his attitude towards her
in those dreams themselves. He has evidently been having them for some time but
doesn't tell anyone about them because he wants her to himself. Having her back
feels "so strange...but good". And the reason it does feel good is the
way they behave together. It is as if they were lost in an idyll of their own
with slow romantic dances, sensuous bathing by moonlight, and the comfort of
domesticity with Darla there to welcome a tired Angel home from his labors and
comfort him.
Yet this was the woman who made Liam a
vampire in the first place, who supervised Angelus' first kill and who shared so
much in his life as he cut a swath of destruction throughout Europe. She was in
short the reason for everything that the ensouled Angel hates about his past.
They were the most natural of enemies. But the fact that he was having those
dreams about Darla didn't disturb Angel in the least. In fact he can't wait to
get back to them. As he said to Cordelia after the first fight with the
Vampires:
"I just need to get some sleep."
But that was only a few hours after he had
got up. As she herself observed:
"That seems to be all you've been doing lately."
And when Wesley woke him in the middle of
a dream he was actually annoyed that he made Darla go away. From this we can
only imagine that his attitude towards Darla in the dream was an accurate
reflection of what is going on in his own mind. By that I do not mean that I
think he is in love with Darla. Indeed in this context I am very struck by the
similarity in all of Angel's dreams between her and Buffy. Rather I think that
it means that Darla is filling some genuine need for Angel.
In his little fantasy world she is always
there for him when he comes home from a hard day's work. She notices when he is
tired. She appreciates what he does for others when everyone else takes it for
granted. She flatters him. She looks after him, meets his needs for comfort and
pleasure. In short she takes the weight of the world of his shoulders:
"Now, you just relax and let Darla take care of you."
He has to strive for his own redemption by
saving others; but who is there to look after him? Sure, he has friends in
Cordelia and Wesley. But friendship sometimes isn't enough. They have their own
lives. They can't make him and his needs the center of theirs. And this is what
Darla is offering to do for Angel. In his naive response to her offer we get a
clear idea of what loneliness really means and what responsibility does. And
here too, especially in the last couple of scenes, the parallels with Gunn are
made clear. Angel too feels the crushing burden of responsibility.
And what we are being invited to do here is to look at how this burden affects
both of them. In one way they and their responses are different. Gunn is a
driven man. He clings on to ideas of duty, discipline and strength. He takes
control and holds himself individually and personally responsible for everything
that goes wrong. Angel's reaction is to retreat into a fantasy world where he
doesn't have to take responsibility, where everything is done for him.
But their different responses have one
thing in common. they both represent the road to self-destruction and the
destruction of all they hold dear. I have already dealt with Gunn. Angel is, if
anything, the more interesting case.
We know almost instinctively that nothing
good can come out of a dalliance between him and Darla. Right at the very
beginning of the episode in his conversation with the Anagogic MC what is at
stake for Angel in his dream world is made clear:
MC: "Question is: what happens to
it now?"
Angel: It?
MC: "Your heat you big softie. It
may not be beating but it can still break."
Angel: "What do you mean?"
MC: "It's just that you've come to
a bend in your own personal uphill road Bro. Whether or not that slows you
down is up to you."
And the truth of this statement is to be
found in what happens in the rest of the episode. Patently his mind is only half
on the job. His main preoccupation is with sleeping and dreaming, a
preoccupation that led him to ignore the calls for help by one friend and almost
to kill another. But this was only the outward and visible sign of an even more
insidious attack, that on his resolve. Darla wasn't just making Angel feel safe,
wanted and valued. She was quite deliberately drawing a contrast between that
feeling and what he is getting from his battle with evil:
Darla: "Save any lives today?"
Angel: "A few, yeah."-
Darla: "And did any of your friends
say thank you?"
Angel: "Not exactly."
Darla: "Hmm. Typical. You know,
next time I see them I'm really going to say something to them."
Angel: "It's okay."
Darla: "No, it isn't. You give and
you give and you give."
Angel: "I'm used to it."
Darla: "Always the protector. Never
the protected."
Angel: "I have so many things to
make up for."
Darla: "And you have. You take care
of so many people. But who takes care of you?"
And then there was an even more explicit
attempt to get him to choose between his fantasy world and his mission:
Angel: "What are you
thinking about?"
Darla: "You. Us."
Angel: "You seem sad."
Darla: "It's just...I have to
go."
Angel: "Where?"
Darla: "Away."
Angel: "I'll go with you."
Darla: "You can't. I'm in
danger."
Angel: "I'll protect you."
Darla: "You're too busy protecting
everyone else."
It seems to me that the groundwork is
being laid here for the most testing challenge to Angel's resolve and
commitment. Truly Vocah was right when he spoke of Darla's raising in "To
Shanshu in LA" as being:
"the very thing that was to bring this creature down to us...tear him from
the Powers That Be."
And the degree of success that Darla has
had to date shows just how very real a threat this is. And the interesting thing
is that the events at the very end of the episode suggest that she is no longer
just in Angel's dreams but actually present with him in his bedroom. From this
it seems that this danger is becoming ever stronger.
It is not a point I intend to pursue in
any detail. But I wonder whether in all of this there may indeed be a metaphor
for life. Responsibility is a fact for a lot of people and sometimes it can be a
quite crushing weight. It affects people in different ways. Some react like Gunn
by imitating the mighty Oak in the tale. When faced with the wind it refused to
bend but stands firm and strong against the wind until eventually it breaks.
Others, like Angel here, choose retreat from reality until perhaps they loose
all contact with it.
First Appearances
The interesting thing is that in all of
this it is the title which proves misleading. When I first heard it I thought we
might have an episode about how appearances were deceptive. And so we did. The
episode is full of examples of this type. Gunn misjudges the effectiveness of
both Wesley and especially Cordelia. Cordelia initially sees Gunn as brutal and
unfeeling when his problem is actually that he feels the weight of
responsibility too much. David Nabbitt first appears a complete dork but his
financial acumen stuns everyone. Gunn thinks he is a crook until Cordelia puts
him right about the good things he has done. The vamp masquerading as the
distressed partygoer fools Wesley. And of course the insignificant and innocent
stool pigeon turns out to be the alter ego of Deevak. If that were all the
episode were about then it would not be at all interesting. The truth, however,
is that the "first appearances can be deceptive" angle is simply a
device used with great effect to cloak what the episode is really about - how
the seemingly strong can buckle under the weight of pressure put on them, how
they try to cover up their weakness and how in the end putting up that front can
lead to their destruction.
Plot
This is in effect another "first
appearance". Right from the beginning the whole plot was set up so that
Deevak would appear to be a mortal danger for Gunn in particular. The meeting in
the Hyperion was called for the purpose of dealing with the demon. And then,
after Cordelia had seen a vision with Gunn in trouble, Deevak turned up and made
a direct threat against him; following this up by an attack on the party Gunn
had joined. But this was all an elaborate red herring. It left us watching for
one story when something very different is happening. In this sense it is very
like "Eternity" with its faux stalker plot. All the time we were
looking for the threat from Deevak to materialize we are actually watching the
writers explore the character of Charles Gunn before our eyes. And I think that
this worked very well for a number of reasons. First of all the set up generally
seemed to make perfect sense, with an aggressive and self confident Gunn posing
a danger to creatures like Deevak it would only be natural for him to try to
kill him. And Deevak's fearsome reputation was established by the fact that Gunn
had to go to Angel for help and Angel too showed him great respect. The stool
pigeon's fear of him underlined this. Then, although the major part of the
action seemed to be taken up with Gunn and Cordelia looking for Angel's car,
Deevak or his cronies keep on popping up at regular intervals just to remind us
of the threat they pose. It all looked as of it is leading up to the big attack
on Gunn that Cordelia foresaw.
But because there was so much attention on
exploration of character there wasn't really a sustained build up of tension or
threat. Most of the time there was no sense of imminent danger. Even in the
fight scene at the party Deevak was notable by his absence and Gunn didn't look
to be in much trouble. It was, therefore, a strength of the plot that it was
packed full of entertaining individual scenes and incidents which kept our
attention. I have already mentioned the way that Cordelia and Gunn sparked off
one another. There was very effective use of humor throughout. I loved the way
that Cordelia kept on sticking out like a sore thumb but battered on regardless.
Some of the scenes between Wesley and Angel were even better. The embarrassment
all round when naked Angel landed on top of Wesley and then tried to choke him,
the way Wesley clearly got the upper hand over his employer with the pink helmet
and then the sly and totally unexpected head but of the party goer were all
gems.
In the end, however, we did reach the
expected showdown between the Fang Gang and Deevak. The fact that the latter
eventually burst in on Gunn and Cordelia was no great surprise, although I have
to say the precise timing of it was. This was a very nice piece of writing
because our attention was so taken up by the sparring between Gunn and Cordelia
that we forgot about the danger they may be in. This leads to a satisfying
climactic battle in which Deevak and his gang are destroyed. It was ,
however, only then that we began to appreciate what the story we had just seen
was all about. And it was not about Deevak who was in fact about as colorless,
unthreatening and badly made up as Adam in Season 4 BUFFY. In fact aside from
the cathartic battle the only significance of the defeat of Deevak was that it
drove home the lesson of teamwork and the need to rely on others.
Overview
8/10: Like mush else of Angel this season
the centerpiece of this episode was an in-depth piece of character study. The
writers took a good, hard look at Charles Gunn. What they showed us was
consistent with what we had seen before but went much deeper. Like Cordelia, we
can see many aspects of Gunn's character that are on the surface hardly
admirable. He is arrogant, rude, dictatorial and brutal. But through this
episode we came to see why. We saw into the darkest corners of his soul, into
what he really fears and the crushing burden that these fears impose on him. And
because of this we began to sympathize with him, without any of his less
attractive qualities having been minimized in any way. I think this is a very
considerable achievement. Hardly less so is what the writers achieved with Angel
in a very much smaller amount of time. Almost unbelievably and out of a clear
blue sky there has developed in an entirely credible manner an enormous crisis
for our hero. True, it has not yet manifested itself for all to see but the
signs are there. He is at a crossroads in which his smooth upward progress and
his seemingly inexhaustible
resources of determination and resolve will meet their sternest test. The set up
is literally mouthwatering. And all of this is presented to us in a thematically
unified form where we can see in the respective crises which both Gunn and Angel
suffer a reflection of the burdens on the other. Add to this the humor and the
wonderful character inter-reaction between Angel and Wesley on the one hand and
Gunn and Cordelia on the other and the thin plot is simply not a problem.