… continued from Part Two.
05 | Billy (306)
Written by Tim Minear & Jeffrey Bell, Directed by David Grossman
Psychosis is always good for a laugh. We’ve got a crazy villain who can make
men become violent mysoginists, and it’s Angel’s fault he’s loose. In some
ways, it’s pretty easy to make a character go insane and then give him angst
about it afterwards. But after Wesley’s impressive axe-weilding rampage, Alexis
Denisof plays the final scene so perfectly that it more than makes up for the
somewhat basic premise. Also worthy of mention is Cordy’s maturing into a character
who can stand on her own against Lilah and manage a certain amount of heroics.
And Angel’s concern at his tendency towards melodrama.
The episode also benefits from a few avoidances of cliches. Fred, the still
reasonably vulnerable Pylean refugee, gets to knock both Wesley and Gunn out
rather painfully. Angel is completely unaffected by Billy’s power, thus sparing
us a crap scene where he struggles to regain control. And, of course, Lilah
gets to save the day. In a way, I’m surprised I decided to put this one so
high — but it’s a perfectly implemented one-off story, and there just aren’t
enough of them in the world.
LILAH: I’m sorry, but this deep chivalric concern, coming from the only man I know who definitely wants to kill me, is a bit much on a day like this.
04 | Reunion (210)
Written by Tim Minear & Shawn Ryan, Directed by James A. Contner
Picture this, gentle readers. Last week, you had the coolest cliffhanger ever.
Angel went through one of his top five painful ordeals, but won the heart of
the human Darla… and then, out of the blue, Drusilla the Vampire Slayer Slayer
appeared, and reconverts your loved one as he watched. You tune in next week,
thinking, ‘well, things can’t possibly get any cooler than that’. And then
you get crazy Darla-Drusilla-Angel fight scenes, some very good Lindsey material
as he confronts the consequences of his actions, mass murder, and Angel’s fall
from grace as he condemns the Special Projects division of Wolfram & Hart
to get eaten by their aforesaid projects.
While coping with some pretty darned depressing stuff, the episode is also
one of the wittiest — Gunn’s confusion over who’s related to who now, and pretty
much all of Drusilla’s dialogue. And we have yet another killer cliffhanger.
Season Two really did rock, didn’t it? Well, mainly. Even though
I’ve put this up here, I feel I should mention the AWFUL scene with the Powers
that Be trying to distract Angel with saving a troubled teen from suicide. “Careful
boss, this one’s about ready to snap, crackle and pop!” My god. Possibly
the worst line of dialogue ever in the series.
What? Eh? Oh, talk about the good stuff. Sorry. I should mention David Boreanaz — Angel’s brooding obsession with Darla has now perfectly matured into a reckless mission against both her and Drusilla, and Boreanaz’s acting is excellent.
WESLEY: So, you did find them, then? Where are they now?
ANGEL: I don’t know.
CORDY: But you know where they’re going to be?
ANGEL: Not exactly.
WESLEY: But yet, you have your suspicions?
ANGEL: Actually, I don’t.
CORDY: So, it’s more like a hunch?
ANGEL: Wouldn’t say hunch.
CORDY: Could you say inkling? Please tell me you can at least say, inkling.
03 | Are You Now or Have You Ever Been? (202)
Written by Tim Minear, Directed by David Semel
They don’t do enough of these any more. One off episodes written like they’re
a movie, and not just things to place in between last week’s episode and next
week’s. Another hole in Angel’s mysterious hundred years of soulfulness is
filled in, as we see him come dangerously close to establishing Angel Investigations
50 years earlier. Paranoia, racism and blood are dealt with in surprisingly
subtle ways (mostly), and in fact the episode is so understated one can occasionally
think it a bit dull.
It’s not. It’s damn near perfect. The scenes between Angel and Judy — both
old and young — are beautifully written and acted. Angel’s ‘hanging’ is a nice
explanation as to why things hadn’t looked up for Angel before the 1990’s.
The only irritating things are the constant interruptions by Cordelia and Wesley.
Sometimes the dialogue on Angel is sharp and taut — other times, it’s a bit
like this. But there’s not enough of it to spoil the episode.
JUDY: I’m not one thing or the other. I am nothing.
ANGEL: I know what that’s like.
02 | The Prodigal (115)
Written by Tim Minear, Directed by Bruce Seth Green
Please, Tim Minear, come back to _Angel _. In this near perfect season
one episode, we follow Angel’s first few days as Angelus, meet his family,
and discover the original, tragic source of his romantic name. Paralleling
this plot beautifully is the relationship between Kate Lochley and her father,
and the further decay of her friendship with Angel. And of course, we have
the magnificent set piece where Angel is forced to look on at the doorway as
Jack is murdered by vampires — the perfect dilemma for a vampire hero.
Despite being a largely serious episode, this story works best as a companion
to the comedic Sense and Sensitivity — also by Minear. Both episodes
end with Angel silently watching Kate and her father, knowing how Kate feels,
but not being in a position to help her. Ah, I miss Kate too. But not enough
to watch Law and Order.
SERVING GIRL: Oh, his lies sound pretty when the stars are out, but he forgets every promise he’s made when the sun comes up again.
DARLA: That wouldn’t really be a problem for me, actually.
01 | Five by Five / Sanctuary (118-119)
Written by Jim Kouf, Tim Minear & Joss Whedon, Directed by James A. Contner & Michael Lange
There have been a lot of good Angel episodes over the years — it’s
been one of my favourite television shows for five years, and one of the most
consistent. Well, with a bit of a blip in season four. But it’s never quite
gotten as amazingly cool as it was here. The connections between Faith and
Angel begun last year on Buffy are developed excellently, while the
differences between Buffy and Angel’s methods are also contrasted interestingly.
We also get the first real hardening of Wesley’s character as he stands up
to Faith’s torture and the Watcher’s council — the same Wesley who this time
last year was ready to talk after the merest threat of broken kneecaps.
After the painful and tragic first episode, Sanctuary contains so
many brilliant moments I recall my jaw being consistently on the floor when
I first saw it. Buffy! Wolfram and Hart! The Watchers! A helicopter! Kate!
Angel telling Buffy what a whining bitch she is! Amazing stuff. While the Wolfram
and Hart elements may look traditional now, it’s interesting to note that this
was in fact a major turning point for the law firm — after a different lawyer
every episode, suddenly three return, and plot together against Angel. This
would get old later, unfortunately.
These episodes — and I’m counting them as one as you may have noticed — are
definitely the archetypal Angel episodes, at least for the early
seasons. Angel clearly explains to Buffy the difference between his show and
her show, for those of us who hadn’t gotten it yet. And from this moment, it
was clear which had the most potential for the future.
WESLEY: I was your Watcher, Faith — I know the real you. And even if you kill me, there’s just one thing I want you to remember.
FAITH: What’s that, love?
WESLEY: You — are a piece of shit.
Conclusion
While choosing these
episodes, I began to worry that Angel, like Buffy, would
have reached the end of it’s consistent quality after it’s third season, given
that I wasn’t tempted to put any season four episodes in my list (though ‘Sacrifice’ would
get an honourable mention). Angel‘s fifth, and most likely last season
has however redeemed the weaknesses of the fourth, and proven that there was
life in the old show yet.
Congratulations to this show, for proving the most enduring of all Joss Whedon’s
tv projects.