EPISODE 1.06
SENSE AND SENSITIVITY
Written by: Tim
Minear
Directed by: James
A. Contner
The Set Up
E
pisodes in which humor is derived
from characters behaving in strange and unexpected ways because of some spell or
potion have never really appealed to me that much. The humor can often be good,
but because it is derived from individuals acting out of character, it is also
usually pretty meaningless. The result may be pleasant enough in an undemanding
way but is often unsatisfying. So it was with no great expectation that I sat
down to watch "Sense and Sensitivity", only to be greatly surprised
and pleased. Perhaps the thing I like about it most is the way that the
introduction of "sensitivity training" into the episode works on so
many different levels. Yes, there was some very good humor derived from Angel
and officers in the LAPD behaving in a way that went completely against type.
But there was far more to the episode than that. For example, the sensitivity
training was also used as a device to allow some very substantial character
exposition. The fact that Kate suddenly began "processing her inner
child" allowed the true implications of her father’s emotional remoteness
to be revealed. Another aspect of the use of sensitivity training in the episode
was the way it raised some very interesting questions about the circumstances in
which, and the extent to which, we should be sensitive to others. And finally it
is the basis for an interesting and entertaining plot around which all the other
elements combine in a very natural and seamless way.
In all of this Angel and Kate are the
central figures and "Sense and Sensitivity" begins with them in
action. These opening scenes portray Kate as tough, ruthless and perhaps even a
little brutal. Angel on the other hand is shown to be just, well...insensitive
to others' feelings. There is a degree of exaggeration for effect here. The
writers have pushed the portrayal, especially of Angel, to the edges of the
envelope. Detached from normal human society he may be but there is really
nothing to suggest that sort of insensitivity on his part to his friends’
feelings. But the exaggeration is kept within reasonable bounds and Angel does
remain substantially true to character so I don’t really think we can
complain. The advantage is that, by presenting both Kate and Angel in this way
at the very beginning, the writers can accentuate the changes that overtake both
of them in the course of the episode.
But, in a very clever touch, Kate and
Angel's actions also counterpoint one another. The former is engaged in a
serious piece of action as she pursues, captures and then interrogates someone
involved in serious criminal activity, including murder. Scenes involving Angel,
on the other hand, are played for their humor. We first see him battle a
tentacled monster but there is no real sense of threat and the tone is actually
light hearted as can be seen from the following extract:
Cordelia (not looking at Doyle):
"You want to know what I think? I think he *uses* his tortured
creature of the night status as a license to be rude and insensitive!
(A tentacle wraps itself around Doyle's neck choking him but Cordelia doesn’t
notice). Sure, he is polite to the helpless and the downtrodden, but
he ignores the people that are the closest to him. The people that
matter the most, you know? (Doyle is still being choked) Can you
say clueless?".
The difference between the way the two
characters are used not only avoids a tedious repetition of the same type of
action Kate was involved with but also prevents the tone at the beginning from
becoming too serious or downbeat. Remember this is supposed to be a largely
humorous episode. And the fact that it is Angel who is used as comic relief at
the beginning of the episode is a clear indication that he will dominate the
funny side of "Sense and Sensitivity". Equally we will, in due course,
get a chance to see and understand one of the most important influences on Kate’s
life so it is also important that we see at the very beginning just who and what
she has become because of that influence.
So far these scenes are simply set up.
There is a nexus or turning point in the episode – the sensitivity training.
It is the effect that this training has in relation to those aspects of Kate and
Angel that are highlighted at the start of the episode that gives us the theme
of the episode, the story and its humor.
The Theme of Sensitivity
Thematically "Sense and
Sensitivity" is about how we should relate emotionally to one another and
the message the episode sends out in this regard is multi-faceted. For reasons
that I will go into later I do not think that Angel’s exposure to the talking
stick was intended to be significant in exploring this theme. But even if we
leave his case to one side we still see two distinct effects of the training.
The first is the drawing out of real but repressed emotion, especially in Kate.
Early on in the episode we are introduced to Trevor Lockley, her father. The
first thing to say here is that the writers very cleverly do not reveal
everything about him and his relationship with his daughter all at once. Instead
we are, at first, given the distinct impression that all is not well between
father and daughter. He is in the same room as her but won’t even make the
time to say "hello". And when she mentions she is going to say a few
words about him to mark his retirement his reaction is a brush off:
"That'll be fine. Don't got to any trouble."
Kate is making an effort. He is not
responding but we still have no idea about the nature of the gap between them or
the role it will play in the story. This is only revealed because of the
sensitivity training Kate gets. Trevor is a man who almost defines emotional
repression and the effect it has had on his daughter is marked. When she first
meets Allen, he tells her:
"Genuine emotion makes you
uncomfortable. That's okay. Your inappropriate sarcasm masks
anger. And you know what anger is, Kate? It's just fear:
fear of being hurt; fear of loss. You've been hurt, haven't you,
Kate. And you're afraid of being hurt again. Who're you afraid
is gonna hurt you?",
This very much ties in with what we
already know about Kate. I have already mentioned the way she was portrayed at
the beginning of the episode as tough and ruthless. Even when she is concerned
about Angel’s safety she comes across as being angry with him. We get a fairly
clear idea of how she became like this when she speaks about her father at his
retirement party:
"He forgot how to be anything but
a cop a long time ago. And maybe, maybe that's why I became a cop
too. After mom died you stopped, you know? It was like you
couldn't stand the sight of me: her face, her eyes looking up at
you. But big girls don't cry, right? You said, gone
is gone, and there is no use wallowing: worms and dirt and nothing,
forever. Not one word about a better place. You couldn't even
tell a scared little girl a beautiful lie."
Little here needs to be left to the
imagination. Kate was an only child left at an early age without a mother and a
father she probably adored but who did not seem to want to know her. Instead he
lived for his job. What was left for that little girl but to try to gain his
approval in the only way she though she could – by following him into the
police force, becoming the best police office she could and by being just like
him, emotionally self-sufficient and remote. As Angel says:
"Gosh, what our folks do to us, huh?"
While it was the sensitivity training that
brought all of these issues out into the open, everything about Kate and her
father suggest that Kate’s reaction to them is the product of very real
emotion.
Of course Kate is not the only one
affected by the sensitivity training. To take just a few examples. there is
Heath whose desire to help the weaker ones in the cells leads to him being badly
beaten up. There is the unnamed cop who tells the mugging victim she isn’t
listening to her mugger’s feelings. These are people who cannot function
because of their "sensitivity" to others. Equally Harlan whose office
crush on Kate suddenly leaves him a wreck or the cop at the road accident
suffering from emotional whiplash are people who have let the day to day
emotional pain everyone goes through overpower them.
It seems to me that there is a fairly
strong counterpoint between Kate’s situation on the one hand and that of her
colleagues on the other. Kate is showing us the very real damage that emotional
remoteness can do. Her colleagues are showing us the harm that over sensitivity
to the feeling of others and our own emotions can also cause. There probably is
a strong element of poking fun at the modern industry that has grown up around
the problems too many people have in coping with their emotions. It is hard to
resists that conclusion when "sensitivity training" is shown to be the
tool of evil lawyers to make the forces of law and order ineffective. But the
more substantial message does seem to be that there is a balance in everything.
We do have to "connect" with other people and this is a point that is
reinforced by the somewhat brutal final scene between Kate and her father.
Instead of responding to her emotional breakdown at his retirement party, Trevor
is cold, almost unfeeling:
"You make an idiot out of
yourself, embarrass me in front of the guys. You don't bring that up
ever again."
But at the same time the near disaster in
the police station also shows emotions must be kept under some control.
Otherwise we are being merely self-indulgent. I think that comedy is one of the
best ways that a point like this can be made. Even though Heath was beaten up
and another cop shot the emphasis is on the absurdity of the emotional outbursts
of the individuals involved rather than the tragedy. And exposing the absurdity
of human behavior to ridicule is a much more effective method of criticizing it
than drawing attention to its tragic consequences. Satire has, after all, been
the weapon of choice for political commentators throughout the ages.
"Sensitive Angel"
I have deliberately avoided discussing
Angel so far. But here I would like to look in particular at the way he was
affected by the talking stick. We have already seen how his
"insensitivity" was played for largely humorous effect at the
beginning of the program. The same approach is taken throughout the episode (his
appreciation of Cordelia’s work with coroners’ reports and his failure to
notice her shoes being examples of this). But all of this is simply leading up
to the scenes of "Sensitive Angel" at the police station. The emphasis
here is so strongly on the comedy element that the more serious side to the
issue of sensitivity to others, while it is there, is underplayed. He does, for
example, refuse to "go vamp" and has to be prodded to help Kate but
when called upon to act, in the end does so quickly and decisively. Certainly
the implications for Kate of his reluctance to break into the police station
does seem to take second place to the humor of it when judges by the following
scene:
Cordelia: "Would you come
on?"
Angel: "What's the magic word?"
Cordelia: "Urgh!"
Angel: "No, I don't think 'urgh' is the magic word, if one would
*call* it a word. And even then it's certainly not a magic one."
Cordelia: "We don't have time for this!"
Angel: "There is always time to be considerate of others,
Cordelia."
Cordelia: "Oh, please!"
Angel: "See? That wasn't so hard now, was it?"
Here I would like to say that the way in
which this episode used the characters of Angel and Kate against expectations
was very daring. Angel is, of course, the action hero. But here his role is as
principal comic relief. Kate, on the other hand, is a recurring rather than a
regular character. Yet in many ways she plays the central role in "Sense
and Sensitivity" and we are asked to understand her rather than anyone else
in the light of the events that unfold in this episode. And, in the final
analysis she is really the only one under threat so our whole emotional
involvement with the episode depends to a large extent how much we care about
that. The fact that Kate engages our sympathy so readily despite the fact that
we have seen and, until now at least, know so little about her is a tribute the
skillful characterization of the writers. Equally DB showed a hitherto
unexpected flair for comic timing and the fact that he was so clearly enjoying
the chance to do comedy came across so clearly as to be infectious.
The Development of the Plot
Turning to the plot, there were some
elements of a traditional detective story in the episode but these were not
among the most successful parts of the story. I am not sure that I follow the
logic of Kate turning to Angel to help find Little Tony. What did she think he
could do that the resources of the LAPD could not? And I am far from convinced
that tracing him through tidal patterns makes very much sense. Both strike me as
somewhat contrived devices to get Angel involved in the case. But once Little
Tony is arrested the story begins to pull together much more coherently.
One of the most notable things about the
development of the plot in "Sense and Sensitivity" was the way
information is fed to us a bit at a time. After Little Tony’s arrest we get
hints about his agenda and that of Wolfram and Hart, especially in the form of
Lee’s interest in Kate’s confidential record. But there is nothing as yet to
relate this agenda to Allen and his talking stick. In fact the seeming innocence
of the sensitivity training session is reinforced by the Allen’s good humor
and because he quickly identifies genuine emotional difficulties both in Heath
and Kate. At the same time and in parallel with these developments Angel’s
investigations reveal Little Tony is planning something. Still, everything is as
yet very vague. The advantage for the writers of this approach is, first of all,
that it leaves us in a state of uncertainty as to how the storyline will
develop. We are intrigued by what we already know but we want to know more. But
perhaps even more importantly each new piece of information added from now on
represents a further stage in the escalating crisis. We only begin to find out
the true nature of the situation as it is getting out of control. This lends the
episode a terrific dynamic. So, having undergone the sensitivity training, Kate
starts saying one or two strange things. When she hears Little Tony has a
contract out on her, there is the following exchange between her and Angel:
Kate: "He's really acting
out, isn't he?"
Angel: "Well, yeah! He wants you dead."
Kate: "Oh, I get that. I'm just saying that he must be in
some kind of pain to strike out at others in that way."
This is an unusual reaction, but not yet a
worrying one. Then in the next scene Allen’s insidious agenda is revealed in
the boasts he makes to Lee. But the crucial scene is the following one where
Kate gives a speech at her father’s retirement party. It starts off
conventionally enough but suddenly takes a most unexpected twist when Kate
launches the emotional tirade against Trevor that I have already mentioned. For
Kate this is so unusual you know something is wrong. But it’s not only Kate.
Arguments and fights begin breaking out everywhere. The common theme is that
they are all about emotional responses.
The pacing here is terrific. One second
there is the smallest crack in the glass then before you know what is happening
the whole pane is shattered. But at the same time everything begins to make
sense. The true nature of Kate’s problems with her father (hidden until now)
and the significance of the sensitivity training are both revealed and we begin
to understand what is happening in the light of the fact that we now know Allen
was working for Wolfram and Hart. There is only one issue left to be resolved
– how does all of this help Little Tony. Angel’s visit to Allen and Kate’s
escape from Cordelia and Doyle put the final pieces into place and set
everything up very nicely for the final confrontation.
The Ending
There are a few little niggles around the
ending. Angel’s uninvited entry into what seems to be a private home, the way
he runs to the police station instead of taking the car, the near instantaneous
effect the talking stick has on him and how Little Tony knew Kate would be in
the police station when she was supposed to be at her Father’s retirement
party all jar slightly. But it’s not too difficult to overlook these when you
compare them to the strengths of the last Act. The sudden way in which Angel is
revealed to have got in touch with Mr. Sensitivity is of course the big
surprise. With this the whole nature of the problem we thought we were dealing
with changes. Just when everything seemed set up for Angel to save the day we
become involved in a race to see whether his unwillingness to take an active
role in saving Kate can be overcome in time to prevent Little Tony revenge
coming to fruition. And in the break into the police station and the final
confrontation we had a very happy combination of genuine tension and real
comedy. It was in particular, I thought, an excellent piece of writing to marry
so successfully the sensitivity side of both Kate (shooting someone and then
asking "How do you think that makes me feel?") and Angel ("You
know, Anthony you could be a rainbow and not a painbow.") with their
unrestrained use of violence.
Overview
9/10. This episode remains the strongest
of those ANGEL episodes which are written mainly for their humor. In
sensitivity training it found an ideal target for satire and exploited it
ruthlessly with arguably the best and most pointed comedy of the first season.
At the same time it was able to use the same mechanism to show us the pathos in
Kate’s relationship, or lack of it, with her father. Mixing these two elements
successfully is a great trick and it was certainly pulled off here. The
unfolding of Wolfram and Hart’s plan always sustains interest and makes up for
the lack of any real action for most of the episode. There are a few minor
niggles in the plot but the main weakness, however, is that the supernatural
involvement itself threatens no-one. It merely allows Little Tony to escape and
he, in the end, is disposed off far too easily even by "Sensitive
Angel". As I have said before, for me ANGEL works best where he
is himself put under real pressure and for me this element was a little lacking.