Previously: A Jumanji-like adventure into the evil underbelly of the Slayer origin story.
—
Storyteller
Sweeney: Bach is playing and we’re clearly in a fancy room which suggests flashback, at first, until I spot a comic book and then a Star Wars poster. This, instead, is Andrew’s episode. He’s sitting in a leather chair, telling the viewer that he’s catching up on an old favorite, closing a fancy old book. “It’s wonderful to get lost in a story, isn’t it?” Sometimes, Andrew. Sometimes. He tries to smoke from a pipe, but coughs before awkwardly inviting to join him on the story of “Buffy, Slayer of the Vampyres.”
Lorraine: I would’ve never thought to combine Andrew and Masterpiece Theater, but here it is in all its glory.
Sweeney: A rare stroke of S7 genius.
Buffy is in the cemetery as Andrew narrates, with awkward stilted pronunciation, explaining that both slayers and “vampyres” have jobs to do. The footage cuts back to Andrew in his fancy room, but he’s interrupted by knocking. Eventually the scene changes and we see that Andrew is filming this in the Chez Summers bathroom. Possibly the house’s only bathroom. (Maybe one in Joyce’s and a half bath downstairs too? I sure hope so, given the house’s current capacity.)
The knocking comes from Anya who wants to know what the fuck Andrew is doing hogging the bathroom for thirty minutes. Again, SO MANY PEOPLE. YOU DON’T SPEND THIRTY MINUTES IN THE BATHROOM WHEN THERE ARE THAT MANY PEOPLE. Anya suggests he get a different hobby, like masturbating. That doesn’t really address this bathroom issue, though. Wolf howl.
Sweeney: Back to Buffy in the cemetery. She dusts the vampire, and Andrew rushes up, filming Buffy hitting a tombstone. He wonders why the vampire dusting shows up on the camera, and Buffy says she told him not to do that. “The story must be told!” Andrew insists. Indeed, it must.
Cut back to Chez Summers the next day. Out in the hall, Anya says that Buffy’s pretty convinced that this apocalypse is the real apocalypse so this is probably a waste of time. Andrew woos her, though, by saying that he wants to interview her in the hopes that her unique perspective can bring some balance. Anya agrees that his story does, indeed, need some balance that she can provide.
K: I really like the little friendship that develops during Anya and Andrew in the last few episodes. She finally gets the friend that she needs so badly!
Sweeney: When you put it that way…it kind of bums me out, to be honest. But yes, I do like their little friendship.
In the basement, Andrew is filming himself standing in front of his white board where he has drawn some slightly more elaborate but Giles-level terrifying drawings summarizing the whole Hellmouth-seal-door business. “Due to…some circumstances…it got opened up, a bit, recently.” It freed a nasty vampire, it’s orchestrated by The First, and there are Bringers. “We don’t know much about them except they’re very ugly and they’re very mobile for blind people.” LOLZ. Perhaps this is where not-blind!Jenna learned her craft.
Lor: Though, as far as extra-mobile blind people go, Jenna has upgraded the fashion sense, downgraded the over all end game, but maintained the creepy level in the face.
Sweeney: Priorities.
Kitchen. Scoobies and Potentials fill the room, getting breakfast, while Andrew films them. Andrew says something about the “women of Command Central” which Xander takes issue with. Andrew, again, deftly navigates this by bringing up the one-on-one interview. “The man who is the heart of the Slayer Machine.” Snaps for (a) re-mentioning the Xander-as-the-heart thing. We’ve brought it up since Primeval but the show does it less frequently so it’s always fun when they do. (b) I like that we see how much Andrew picked up in his time as a “guest-age.” He’s a total fanboy who has had nothing to do but watch and take mental notes, so he truly does get to act as the fan jumping into the show to make his little documentary. It’s the best possible use of this character at this point.
K: A+ and 1430. Totally agree. We saw Andrew as a Warren fanboy throughout season 6. Fanboying over the Scoobies is a much better option.
Lor: As this episode goes on, we get better insight into why Andrew is a fanboy and it’s the reason that most of us are fanpeople. Creating stories this way, recapping, analyzing the narrative? It lets you escape at least a little part of reality.
Sweeney: Exactly. He’s a total fan representative throughout the story. He’s mostly been a punchline up to now, but they humanize him very quickly by making him, in essence, us.
He goes on to discuss the seriousness of the impending apocalypse, and the feeling that danger is in the air — just in time for Dawn to note that they are out of Raisin Bran. Which is also about how we feel, as viewers, about the serious air to this impending apocalypse. Buffy and Spike walk in and Spike starts to light a cigarette in the kitchen. Which would be a total asshole move even from a character I actually liked. Dawn agrees.
With Buffy there, Andrew’s ready to take it from the top. And really, a full gifset is the only way to do this delightful sequence justice:
Buffy launches into another grand speech — this is really about war. (Which still doesn’t explain why Andrew — who has been sitting around doing nothing otherwise — can’t keep on with the filming.) Amanda and Dawn have to stay home because Buffy had a vision of “what’s to come.” Andrew keeps killing it as the audience mouthpiece, stepping out because “these motivating speeches of hers tend to run a little long.” He’ll go back in there in a bit, but sees this as a great opportunity to introduce himself.
K: This unfortunately shows us the back of Buffy’s shirt, which is truly hideous.
Lor: We’re spared the speech, girl. Don’t look a gift horse in the ugly shirt.
Sweeney: He sees himself as a man with a burden, a dark past, having been supervillain. We cut to an elaborate lab with lots of colorful tubes linked together. Jonathan and Warren are wearing goggles and listening as Andrew explains the master plan with lots of made up jargon.
K: Riiiiiiiiiiiight there with you. Because he really was. You know, when he wasn’t being evil.
Sweeney: In the kitchen Buffy is still speechifying and even Willow is bored. Andrew zooms in on Kennedy grabbing her arm because it’s important. (He’s even getting his zoomy cameraman on! Good job, Andrew!) He says that Willow and Kennedy were in a bad place but now things are looking up.
He sidebars that he once had his own personal encounter with Dark Willow. Andrew Fantasy Flashback Time takes us to The Magic Box, where Willow does a light flashey thing out of her hands and Andrew says “haltem” stopping it. She tries again and he once again stops her with a wave of the hand and an, “I deflect thy power.” Dark Willow marvels at the efficacy of the counter-spell.
K: Meanwhile, I’m wondering if they filmed this stuff at the end of season 6 with the intention of using it later or if they still have the Magic Box set lying around.
Sweeney: Huh. I suspect the latter, but that’s an interesting question.
Out of the flashback, the speechifying is over, and Buffy has left for work, because I guess she still has to go to school that day. Bummer. I suppose there will still be bills to pay if they survive this apocalypse. (K: Plus, they’re out of Raisin Bran.)
Sunnydale High School is a zoo, what with its ahead-of-schedule madness. She breaks up a fight and then spots a girl starting to disappear. She tries to order the shy girl not to do this, but when that doesn’t work she slaps her. Girl, that’s the kind of shit that gets you fired. It works, though. (K: It also causes Season 1 Flashbacks!) As Buffy is trying to assure her that things are going to be all right, a girl emerges from the bathroom sobbing, because the mirror told her she was fat. She overhears another kid freaking out because school is so hard he may explode. Sunnydale’s Greatest Hits!
In the office Principal Wood explains that stuff was hitting him in the head. Buffy bandages him up and explains that the whole high school on the Hellmouth thing means that sometimes the way things feel start to become the way things are for real. This is the most brilliantly simple explanation of why the first three seasons of this show were brilliant. In addition to the witty writing and fun characters, the show worked because the whole concept of personifying high school hell resonated with people.
K: Which explains why things kinda sorta hit the fan in season 4.
Lor: By this point, I can’t even with all in the built in commentary on this show. I was squeeing by this point and Buffy bring up high-school-as-hell. Also, she’s really gentle with Wood and smiles and it’s pretty cute. I’m bummed they haven’t at all referenced that first date.
Sweeney: This episode could easily be recapped several times over because the built in commentary is so abundant and I want to spend forever with each piece of it.
Buffy goes on to say that she’s seen all of these things before, but not all at once. Wood offers that “hell’s a-bustin’ out all over” and we get a quick shot of Andrew tapping the HELLMOUTH part of his whiteboard. Buffy continues that war is the worst thing that can happen because being in high school can sometimes feel like war. Just as she predicts a riot, one appears to be forming in the halls.
Chez Summers Dining/Planning Room. Andrew introduces Dawn as having a smile that lights up the room. She used to be a key but Andrew has no idea what that means. He pans around to the living room where Willow and Kennedy are making out on the couch, but Andrew just wants to show off Xander’s handiwork.
K: Meanwhile, I’m wondering why the hell Willow and Kennedy would just keep making out with Andrew like a metre away, even if he IS paying attention to the windows…
Lor: I suppose they are all used to ignoring him. He is, after all, Tucker’s brother.
Sweeney: Actual privacy has to be super hard to come by in a house this crowded – I’m surprised the room was that empty to begin with. At a certain point you just have to learn to not care if you’re going to hook up in the Chez Summers Potential Slayer Motel.
Principal’s Office. Buffy and Wood are going over Sunnydale High School plans, trying to figure out what makes now so special as to cause All The Things to happen at once. Buffy guesses that the seal is attracting mega hellmouth energy, making things all, “Focusy,” Wood offers. Buffy tells him to be careful because he’s starting to speak like her, a fun nod to the way in which the show impacted the cultural lexicon.
Chez Summers Living Room. Andrew sits down to do his interview with both Xander and Anya. He dives right in with asking Xander if he has any comments on leaving Anya at the altar a year ago. (He clearly missed yesterday’s Neptune HS journalism lesson on softening up your interview subjects.) Anya’s eager to hear about this. Xander says he’s apologized enough, but he also thinks it was the right thing to do. Anya disagrees because they still spark – they get jealous and he still loves her. Andrew asks if that’s true and Xander looks overwhelmed, but we cut away before he gets a chance to answer.
Basement of Don’t Go In There 2.0. Buffy shows Wood the seal and goes on to explain the OG Vamp situation, including the vision she had about the hundreds of them waiting to emerge. Buffy says that they tried to look into the seal, but it’s an open-mouthed goat and apparently there are an awful lot of people in the world who dig goats. Wood asks if she can trust Willow – if any of them can trust each other given that they’ve all gone evil at some point or another. Buffy tries to insist that she hasn’t (girl, we’ve seen your leather pant collection) but Wood goes demon-voiced and white-eyed, telling her that she’s a whore who is sleeping with the vampire.
K: PRINCIPAL WOOD IS THE BEASTMASTER! Oh wait, wrong show…
Sweeney: Ah! I didn’t even consider the white-eyed thing as potential Angel crossover! A+
Buffy slams him against the wall and he snaps out of it. They figure that the seal was controlling him and, as such, needs to be shut down ASAP. Just as Buffy suggests they talk to the guy who fed it its first drop of blood the pig comes running by. Wood hopes it’s not a student.
Summers Basement. Spike is telling Andrew to GTFO, but Andrew tells him that the light was kind of behind him, so Spike resets and goes again. LOL. That was kind of precious. Andrew is doing wonders for my ability to watch/appreciate/accept Spike.
K: YUP. It also makes me think that it’s a nice little reminder of Restless and Spike posing for the cameras in the TARDIS Crypt.
Sweeney: Upstairs, Xander is still refusing to answer the question. He says Anya was the one who didn’t want them to keep seeing each other. “And here’s where we hop on the merry-go-round of rotating knives. I blame you, and you blame me, and we both end up all cut to shreds,” responds Anya. She just wants to know if he still loves her. He does. They both love each other, but neither knows if that means anything now.
We pan back to see that Andrew planted his camera there and filmed this entire conversation. Later, he watches from the same couch, mouthing along to the dialogue because he’s clearly watched it a bunch of times.
Just as he’s starting to watch again, Buffy storms in with Wood saying that it’s time to help. “No more watching.” It’s time for him to get in there before the seal tears everything apart.
Basement of Don’t Go In There 2.0. Five students walk in and kneel down. They chant over the seal and it glows. A bit late, B.
Somewhere in Mexico, 2002. Andrew and Jonathan are tossing and turning as a voice like the chanting voice haunts them in their sleep. They see flashes of stuff we’ve already seen – the OG Vamps, dead Potentials, and finally the seal opening – and they wake up, panicked. They try to figure out what it means, and resolve to try looking it up again in the morning. They wax poetic for a bit about how tortured and haunted they are. Jonathan says he didn’t deserve this, as he wasn’t even that evil. Andrew offers that Jonathan did have good plans and follow-through.
K: I find it oddly adorable that they shared a double bed while running for their lives from unspeakable evil.
Sweeney: Back at Chez Summers, the gang says he’s getting off-track. There’s a big glowy rock that he’s talking to, and they tell him to focus on that and how he knew what to do. He insists that this sidebar is about to get relevant.
Mexico. Jonathan goes to the bathroom. Andrew wakes up to First!Warren standing over his bed, wondering if he got the knife. Warren says he’s looking good and Andrew blushes. He starts to tell First!Warren about how he got the knife but First!Warren ain’t got time for that. Andrew says it’s a pretty knife, but he’s not sure he can do the stabbing because Jonathan has been a good friend to him. First!Warren insists that Jonathan’s blood will be a gift and it won’t even hurt. In the end, they’ll be rewarded – living as gods. Then he has this amazing fantasy:
K: The togas and garlands is what really makes it perfect(ly ridiculous).
Lor: Amazing. This would be Andrew’s idea of being a god. Butterflies, bright flowers and jumping around in a field. Precious.
Sweeney: First!Warren says something about driving the words deep into him. Willow tells him to back up — Andrew assumes to the amazing Teletubbies fantasy, but no, to the words bit. Buffy sends someone to get the knife from Andrew’s stuff, but he says it’s in the cutlery drawer. He responds to the horrified faces with the defense of, “You didn’t have any steak knives.” Insufficient excuse for putting the knife you used to murder your BFF in the cutlery drawer. Nope, nope, nope.
K: Agreed. Especially as it proves to not be serrated, and is therefore useless as a steak knife.
Lor: There are a few moments like this that don’t make too much sense and you got to wonder how much of it is an unreliable narrator thing. I mean, even if at this point, we aren’t so much seeing things from Andrew’s POV, it is his excuse. It has an air of trying to get rid of it, to put space between himself and the knife. And that’s not something he’s likely to admit. Not yet, anyway.
Sweeney: An excellent observation on Andrew’s motivations. Absolutely.
Willow has to catch everyone else up on the “words” thing while Kennedy goes to get the knife. She hands it to Andrew, asking if his demon-summoning abilities extend to demon language abilities. He’s able to identify it as “like, proto-Tawarick. It’s really, really old.” He’s also conveniently able to read this proto-Tawarick. “The blood which I spill I consecrate to the oldest evil.” Willow says she needs to work on it, but might be able to do something about it.
Lor: Just circling around to my unreliable narrator point, Andrew earlier said that they were some strange carvings on the knife. Here, he’s able to read it instantly. Wouldn’t he have been able to read it before? Wouldn’t he have known all along what he was doing? It’s either sloppy plotting (which, possible) or Andrew isn’t being entirely honest with the Scoobies at this point (in my opinion, more likely.)
Sweeney: YES. Agreed. We see Andrew taking a lot of liberty with his version of the story and it certainly seems most likely that he knew all along where this was headed. To an extent, that is. He lives in such a fantasy world, that I don’t think real consequences ever connected with him, but I absolutely think that he had to have had some idea of where this was going.
Cut to a little later. Willow is at her computer and tells Buffy that she thinks this might work. They had back into the living room to say that Andrew’s headed to the Hellmouth. “What, so he can yell at it in its own language?” asks Spike. Sort of. The seal is Priority #1 and this is the only thing they’ve got to address it. The language was obviously essential to the seal, or else the knife wouldn’t have been necessary.
SHS. The school has the look of having survived many riots. The sheer volume of graffiti makes no sense unless people were literally tagging all day. I don’t buy this unless I see somebody emerge with a spraycan in hand. I’m on the lookout. Spike adds that the riot is still happening, so maybe!
K: Meanwhile, Xander’s probably rubbing his hands with glee at all the repair work to be done.
Lor: Xander is the person I buy always living in Sunnydale. Income for life.
Sweeney: Spike and Wood bicker – Spike insulting Wood’s principaling and Wood implying that Spike would find the injured students easy-pickings. Andrew selfies that something is going on between them. “Sexual tension you could cut with a knife,” adding “slashfic writers” to his list of Buffy fan personas in this episode. (Also totes one he’s occupied in-verse, even if we haven’t seen it.) (K: YUP.)
Around the next corner our gang gets attacked by some Hellmouthed up students, offering a convenient (and timely!) need for Spike to be chip-less.
Once they clear the fighting, Buffy orders Spike and Wood to stand outside the door to the Basement of Don’t Go In There 2.0 because plot development calls for this tension point. Also guarding their line of escape or whatever.
On their way down into the basement, Andrew keeps filming and Buffy again insists that she doesn’t want a biographer, “especially a murderer.” Andrew insists that this word is being thrown around but that’s not really how it happened. It was confusing, he says, before taking us back to that night.
I have all the feelings all over again as Andrew again tries to goad Jonathan, telling him that nobody cares about him and Jonathan’s beautiful needs-to-be-repeated response: “But I care about them. That’s why I’m here.“ Then the story diverges from the actual events, with Andrew pulling the knife to say he can’t do it and Jonathan attacking him first, and Andrew crying out in pain after Jonathan died. NOPE. YOU CAN’T RE-WRITE THIS, ANDREW.
Buffy, however, accepts this, having seen the seal possess Wood earlier in the day. Andrew again flashes back, this time giving himself the white possession eyes as he fights Jonathan. Buffy calls him out on this complete change to his story. GOOD.
They reach the door, and hear the chanting students inside, preparing for whatever the seal may have done to them. On the inside the good news is that they’re fine but the bad news is, of course, the glowy seal thing.
K: Also, the students now have Bringer eyes. Which reminds me of how Reavers are formed… *shudder*
Sweeney: Chez Summers. Xander and Anya just had sex in the basement and are discussing how good it was. Anya says something about, “one more time,” though she obviously doesn’t want that and Xander, who also clearly doesn’t want that to be the case agrees. These two. Their inability to use their words continues to be their undoing.
Lor: There is a level of awkward that is so genuine. I think above all else they fear hurting the other or being hurt. And I’m not sure either knows what they really want. It’s sad to watch.
Sweeney: Agreed. It’s sad to watch because of how real and honest it is.
Sunnydale High School. Spike and Wood wonder what’s taking so long, which is about time for them to get attacked again. Wood has a moment where he starts to go after Spike when his back is turned, but gets interrupted by an attacking student.
Basement of Don’t Go In There 2.0. Buffy is fighting all five students while Andrew films and narrates. Once four are taken down and a fifth scurries off, she tells Andrew it’s his turn. Andrew’s not sure what he’s supposed to say. Buffy says that Willow’s research suggested that the blood of the person who opened it can be enough to close it. Andrew starts to monologue about his redemption, but Buffy cuts him off.
Buffy: Stop! Stop telling stories. Life isn’t a story.
Andrew: Sorry. Sorry.
Buffy: Shut up. You always do this. You make everything into a story, so no one’s responsible for anything because they’re just following a script.
Andrew: Please don’t kill me. Warren said Jonathan would be OK. I trusted him, and I lost my friend.
Buffy: You didn’t lose him, you murdered him.
Andrew: I know. You don’t need to kill me. You said we could all get through this.
Buffy: I made it up. I’m making it all up. So what kinda hero does that make me?
Andrew: No, you’re doing great, so kudos!
Buffy: Yeah. Well, I don’t like giving speeches about how we’re all gonna live, because we won’t. This isn’t some story where good triumphs because good triumphs. Good people are going to die.
Buffy dangles Andrew over the seal, telling him that his blood might save the world. She asks if this buys it all back – if this redeems him. He starts to cry about how it doesn’t and how this is what Jonathan felt. The zoomy cameraman is all about those tears because, sure enough, it’s Andrew’s tears, not his blood that they were after. He cries onto the seal and it closes. Andrew is confused and relieved and Buffy explains, insisting that she wasn’t going to stab him, though she doesn’t answer when he asks what she’d have done if the tears didn’t work.
I have so much to say about this scene, but the episode is almost over, so I’ll double back after we rejoin Spike and Wood upstairs, fighting the students. Abruptly, the kids chillax and walk away.
Chez Summers. Andrew talks to the camera and explains that he killed his best friend and has no idea what’s going to happen in the big fight. He’s not sure if he’ll live through it and that’s probably how it should be. He tries to say more words, but can’t. He picks up a remote and turns off the camera, sending us into the credits.
SO. This episode. I’ve said before (and I believe 3/3 Snark Ladies are on this page) that I fucking love the meta episodes. (Even though I had this weird memory of disliking Superstar on first watch, though I can’t quite say why.) (K: I think it’s because it’s buckets of WHY IS JONATHAN HERE WHAT IS HAPPENING) This feels like something of a rebuttal to Superstar. Superstar is a giant piece of commentary on Mary Sue fiction. This episode approaches that with a fantastic twist, interestingly blending Andrew’s Mary Sue fantasies with the actual lens on his surroundings, the latter of which often ends up being commentary on the writing of this show itself. Ultimately, then, both are analyzed in different ways. That scene with Buffy and Andrew? Everything Buffy’s accusing Andrew of is essentially a summary of what we’ve been saying about the show when we feel it has crossed a line – that making everyone follow a script doesn’t change the fact that people are culpable for things. (L: SO MUCH YES.)
I love that scene. It also summarizes a lot of what created tension around these parts, too — and in a way that’s important for where we’re headed. You can’t have redemption without facing those things, owning the shit you’re responsible for. That’s what Buffy made him do – she made him cut the fantasy explanations and get real about what happened. That is a necessary first step toward redemption. You can’t gloss over the bad shit, offer a quick apology and then call it a day, Redemption Achievement Unlocked. In addition to getting Andrew to cry for the sake of closing the seal and saving the day, forcing Andrew to confront this was an important step for him, as a character.
K: YES. SO MUCH YES. A+ AND 1430 TO ALL OF THIS.
Sweeney: Also important in that scene is what it tells us about how Buffy sees herself – that giving bullshit rousing speeches makes her feel like a fraud. And yet, it always comes down to her, and so she doesn’t know what else to do besides keep trying to motivate everyone. She’s not allowed to give up – and I suppose that’s part of why she snapped in the last episode. Just as we saw Buffy grapple with her teenage years in high-school-hell-personified, she’s now trying to be an adult, trying to be someone who has her shit together in real-world-hell-personified. I can 100% relate to this early adulthood feeling where you keep telling everyone that shit’s fine and under control when you actually have no fucking clue what you’re doing.
I could easily write another five paragraphs about that scene, taking it line-by-line, but I’ll leave all that for the comments. There were a lot of fantastic things in this episode. This was a perfect way to develop Andrew as a character. He’s been sort of static and comic reliefy and this episode managed to both feel consistent with that and flesh him out a bit more. (Again, by making him so directly identifiable with the audience.) On rewatch, the good feels from this episode were still with me in his first appearance. I loved all the wonderful little references to the show’s past. I even enjoyed Spike’s scenes! I’m sad that Xander and Anya continue to fail at using their words, but it’s also so very fitting.
Basically, I love this episode. I think that’s the first S7 episode that I have given a solid, full conviction, “I love this episode.”*
K: While I was watching this episode this time around, I kept watching the scenes with Spike and Wood, and thinking that the end of this would be a much better place for First!Nikki to tell Wood that Spike killed his mother. They’ve spent time together, they’ve fought side by side without Buffy there. But anything that interfered with Andrew’s brilliant “I’ve learnt my lesson and I want to redeem myself” ending would be an unwelcome addition. Because Tom Lenk really did hit it for six in this episode. He was completely brilliant from start to finish. So yeah. I love this episode.
Lor: Sweeney summed up a lot of my feelings. I love all the in-references and the meta commentary. Even the weaker parts of the plotting, view through the lens of this coming from Andrew’s POV become better. It’s something The Zeppo tried to do, but that felt flat to me. This was a definite highlight.
The Trio were such slap-sticky villains and then Andrew became comic relief. He was, by design, hard to take seriously. In all his mentions of redemption, it was easy to almost lose the truth of the matter: he killed his best friend. This episode was a great way to bring that to the forefront not only for Andrew, but for the audience. It’s amazing that I was just complaining about how the writers had seemed to lose the comedy/drama balance and here this episode recovers it expertly. It was entertaining but gave us some A+ character moments. (S: YES! +1)
I think it’s super interesting that in the background of all this is the Wood/Spike drama. Wood is a reminder that redemption is a thing, and a good thing, but it doesn’t change the past. The narrative colors but doesn’t change things. Spike, or some version of Spike, killed Wood’s mother. Andrew wants redemption, Spike sought his redemption but in the end, people are still dead and there are lingering consequences. I really like this comparison.
And I really love this episode.
Sweeney: 3/3 Snark Ladies love a episode again. A GLORIOUS DAY IN TRAUMALAND.
*Not counting the first episode or two when we dedicated every other line to excitedly declaring the episode amazing for not being season six.
Next time: The gang finally decide that they should look into chipless Spike’s trigger on Buffy the Vampire Slayer S07 E17 – Lies My Parents Told Me.
Nicole is the co-captain of Snark Squad and these days she spends most of her time editing podcasts. She spends too much time on Twitter and very occasionally vlogs and blogs. In her day job she's a producer, editor, director, and sometimes host of educational YouTube channels. She loves travel, maps, panda gifs, and semicolons. Writing biographies stresses her out; she crowd sourced this one years ago and has been using a version of it ever since. She would like to thank Twitter for their help.
I'm a 30-something south Floridan who loves the beach but cannot swim. Such is my life, full of small contradictions and little trivialities. My main life goals are never to take life too seriously, but to do everything I attempt seriously well. After that, my life goals devolve into things like not wearing pants and eating all of the Zebra Cakes in the world. THE WORLD.
I'm a 30-something librarian and I still live with my parents because I'm super broke. Leader of Team Heartless Cow. I have an inexplicable love for 90s television, eat too much chocolate, and read more than is good for me.
