Now that the longish (mine started on Friday) weekend is over, I’m not at all excited about the coming work days (who’s gonna be, really?). I can’t say that I had a productive, nor what should have been reflective, weekend. Like most of my nonworking days, I spent the entire holidays inside my apartment, with the exception of Saturday night when I went out to play badminton.

Here are a few notes on what kept me busy and some news that caught my attention:

I started watching season 1 of Terminator: The Sarah Connor Chronicles: so far, so good. I’ve read that season 2, which had its finale last Friday, is even better. I’m not really drawn into action TV shows, or movies for that matter; guns ablazing and explosive action sequences do not interest me much, but I’m a sucker for dramatic voiceovers, so when TSCC started with that, with Sarah Connor talking about the love of a mother to her child, it got to me. I hope to finish the series before the Christian Bale Terminator movie comes out (although I don’t think the movie’s plot is tied to the show).

Next, Angel. The Buffy spin-off is the only remaining Whedon show I haven’t finished watching (I’m currently on season 3, out of five). It’s a good show. Not Buffy, but good; funny and witty as well, although with less of the emotional punch. I’m trying not to like the characters so much because I know for a fact that they are all doomed, one way or the other.

 
The current Whedon show, Dollhouse, is getting better and better. Episode 9,  A Spy in the House of Love, is filled with plot twists and more revelations that kept me at the edge of my seat (make that my bed) for the entire 40 or so minutes. With this shot of Echo, though,I can’t help but think of Faith (the rogue-turned-good Slayer). Make that glass shard she’s holding wooden and she’s all ready to do some vampire staking.

In celebrity couples news, Freddie Prinze, Jr., and Sarah Michelle Gellar are soon to become parents. Roger Federer and Mirka Vavrinec, also expecting their first child soon, tied the knot.

My book reading project – three books a week – didn’t go as well as planned, but I’m slowly going through the volumes I currently have while trying not to buy more books, at least until after I’m down to two or three remaining unread ones. Here are a couple of titles I’ve been reading for weeks now (hopefully, I’ll have the time and the inclination to write decent reviews later):

The Blind Assassin by Margaret Atwood: One of the best books I’ve read. Ever. The prose is exquisite; the language is masterful and eloquent, which is not really a surprise because Margaret Atwood is a poet. The plot, not so much if you’re looking for a thrilling page-turner, but major kudos to originality: It has a story within a story within a story. As the narrator for almost half of the book, Iris Chase-Griffen, is laying down the events of her life and that of her troubled sister, Laura, we simultaneously read the novel that made Laura famous, The Blind Assassin, which tells the tale of mysterious lovers in hiding. Within Laura’s novel, the male half of the clandestine couple is spinning a science fiction yarn to keep his love interested.

The Birthday of the World and Other Stories by Ursula Le Guin. Now this is one book I wouldn’t recommend to everyone. Le Guin’s science fiction is easy enough to access, as she writes about ordinary actions and transactions of day-to-day living albeit set in a futuristic and intergalactic setting (utopian societies, as they are called), but her themes may be a bit of a head scratcher, especially for conservative point of views. In this volume of short stories, of which I’ve read only the first two for now, the recurring themes of exploration of sexual identity in an androgynous society and its political and cultural implications are rife. Forgive my ignorance because I’m rather new to science fiction, but if this genre is meant to be otherworldly, then this book definitely represents it. It presents an entire new world of thought, with its own terminologies (say, wombsib for “brother” or “sister”). I feel incompetent to say much about Le Guin’s works so to quote a Guardian reviewer: “If you can manage the sentence ‘None of my hearthsibs had been sent off to the Fastness before their kemmerday’ without either laughing or falling into a rage, you will get on with this book. If not, there may be some issues.”

Note: This is another crossover post, with a few changes to accommodate two previously separate ones.

My introduction to Buffy the Vampire Slayer came about when I was searching for a new TV series to watch. Ok, that didn’t sound right because the show ended in 2003, so it wouldn’t fall to the category of “new.” Anyway, I realized I’ve been watching too much X-Files so I decided to shift my attention some place else. Now, I’ve never really considered myself to be a SciFi/fantasy nut; ironically, my favorite movies (Contact, Meet Joe Black) and TV shows (X-Files, Taken, and now BtVS) all go beyond the realistic. I wouldn’t overanalyze the “whys” mainly because I don’t think I can point it out exactly. But the unique thing is, although I enjoy the visual effects and story progression of this kind of presentation, I tend to focus more on the human aspects – the emotions, relationships, struggles, and parallels to real life. I guess maybe, for me, the “fantastic” provides a whole new layer of intensity in sending the message across compared with in-your-face representations like in reality TV or soap operas.

In retrospect, after having seen all seven seasons through DVDs and after having spent a lot of time in fan forums, nitpicking episode by episode, I realized that the main thing that this show had done for me is that it sort of expanded my world and inspired me to pursue the art of creative expression, in whatever way or form it comes my way. It introduced me to names of brilliant people who did, and continue to, show how a little concept can go a long way and also how talent is important but hard work cannot be taken out of the equation.

It wasn’t a perfect show. Beyond that, it is rife with heartbreak, pain, and those things that make you want to look away because they aren’t pretty. I’m not even talking about the vampires, demons, or those rubber-faced ghouls, but about the life of this sad little hero and her sad little friends (who are, ironically, effectively funny). Here’s a girl who didn’t choose to take responsibility; it was shoved into her throat when she wasn’t ready but she eventually learned to embrace her destiny. She’s not a superhero. She’s not without flaws – she makes mistakes, she hurts her friends, she hurts herself, she makes wrong decisions, and at times she’s even incredibly selfish. But she saved the world … a lot.

… a magical dramedy, a ripping thriller and the smartest work of girls-kick-ass feminism ever crafted by a pudgy guy who’s into comic books. Sarah Michelle Gellar nimbly handled the show’s undead allegories for coming-of-age conflicts (her stunt double nimbly handled the rest). And the show unspooled a rich mythology, realistic family and relationship stories and the best Sondheimian musical episode ever written for hour long television. The demons and ghouls were comically rubber-faced, but Buffy’s spirit was achingly real. – The 100 Best TV Shows of All-TIME.

What made the show famous are the snappy dialogues, tons of witticisms, double entendres, and metaphoric storytelling. What made it lasting is that it can drive a stake through your heart if you’ll let it. It even has powerful witches, loyal human friends, a supercool evil-turned-lovelorn vampire, and a hilarious bunny-phobic ex-demon trying to be a regular girl who all helped make The Slayer’s world all the more beguiling. You won’t find more compelling characters in women’s shoes than here.

P.S. If you’ve always been curious about this show but can’t get past the ridiculous title (like I was for years), I suggest you start with the last half of season 2 because that’s where it really took off. You can always go back to the introductions later.

“Forget morality. Imagine it’s true. Imagine this technology being used. Now imagine it being used, on you. Everything you believe, gone. Everyone you love, strangers. Maybe enemies. Every part of you that makes you more than a walking cluster of neurons, dissolved at someone else’s whim. If that technology exists, it’ll be used. It’ll be abused. It’ll be global. And we will be over. As a species, we will cease to matter. I don’t know, maybe we should.”

For the uninitiated, here’s the short description: The Dollhouse is a highly illegal organization, the real purpose and extent of which is just now being revealed, which hires out a group of people called “Actives” or “Dolls”. These Actives have willingly (or at least that’s what we’re led to believe) had the memories of their previous life wiped out so they can exist in a child-like state when not in an engagement – which range from crimes, fantasies, to the occasional good deed. When a Doll is hired, he or she is then imprinted with the persona that the engagement requires, which includes memory, muscle memory, skills, and language, and that the Doll fully embodies until the engagement is complete and is again mind wiped (which they call “treatment”) and kept for the next assignment.

For the last five episodes from the series premier, the show has been taking flak from viewers and critics alike that many believe it will not be picked up for a second season. The sixth episode which aired last Friday, Man on the Street, may change all that. The mythology of the show has finally kicked in. Giving up on watching a movie with bad lighting on the TV, I turned to my PC to look for this latest episode (Dollhouse is available on iTunes and Hulu.com for those residing in the US; for the rest of the world, there are other streaming sites online), and, boy, was that a fine hour of television! I finally saw Joss Whedon all over the episode – from the sly, off-handed humor to the dark, thought-provoking tones.

I don’t intend to summarize the episode because it will be pointless for nonwatchers and again pointless for those who are in for the ride. But I leave you with the quote at the beginning of this post to ponder on. The Dollhouse is a bad place, of that we are certain. But is there anything in the world that will make you want to give up your identity, your self-awareness, and your control over your own body? I wouldn’t think so.

I grew up in a patriarchal family amidst a very patriarchal society, so I’m not certain as to the extent of the feminist advocate I have in me. Sure, I support equal social, political, and all other rights for men and women. But it’s an all-encompassing concept that can be highly controversial when radical tendencies set in. At the same time, I have to be honest and admit that if, in the future, I will decide [inner-dialogue translations: hopeless romantic - I'll find "the one"; realist - I'll get lucky; snarky - I'll get desperate] to start a family of my own, I’m hoping it will be with a guy who can make decisions that I can trust and wholly support (maybe even admire) because I don’t want to be the one who shoulders that responsibility. Is that anti-feminist? Or maybe just plain lazy (j/k)? Here’s a related article from PDI regarding the effects of gender mainstreaming on the emasculation of the fathers and, in effect, the teachings of Christianity.

I was just over at Whedonesque, and I chanced upon a heated discussion about footwear (of all things) in the new Joss Whedon show Dollhouse. A fan questioned the practicality of having a doctor on duty wear high-heeled shoes. Did the costume department do it on purpose to flaunt femininity and entice the male viewers? Was it to follow certain stereotypes? At one point, the main character was wearing a pretty mean-looking pair of boots (not sure if it’s UGG boots; maybe not), while another woman character was walking around barefoot. Somehow, it all meant something, and Joss Whedon himself chimed in to have his say on “the issue that is tearing at the very fabric of my fanbase: shoes.”  Hell, yes, Whedon fans are that passionate about details. And it’s not too much to say that people look to Joss to create strong female characters and role models because that is what he’s famous for, starting, of course, with Buffy (THE Vampire Slayer, duh!).

I will not dwell on the politics of it because I figured feminism is a highly volatile and debatable topic.  All I’ll say is that I do want to live in a world where I, as a member of the female population, can be “awesome” (*in my best Barney Stinson impression*) and not be resented upon (or hindered) by the other sex. All’s fair in all.

On the eve (or the eve of the eve, depending on your time zone) of Dollhouse‘s premier, here’s a promotional picture with the creator, Joss Whedon, and the two leads, Eliza Dushku and Tahmoh Penikett.

Joss Whedon shows have always been rife with ‘controversial’ themes but what I like about it is that they never seem to be a ratings ploy. It’s always about the exploration of the human condition. Sure, TV is all about ratings and keeping things ‘mainstream’, which is probably why Whedon is said to be quitting TV after this one.

Dollhouse has been called the anti-Buffy by some critics who have already watched the first few episodes because it deals with a female character who has no control over her actions. Someone who willingly had her memory erased to be injected with one personality after the other depending on who hires her services (which range from sexual favors to high-profile assassinations). The NPR questioned the premise as possibly the ‘ultimate misogynistic male fantasy’. 

Whedon studied gender studies and feminism in college, and his interest is to “bring the world up to the fact that women are not less physically or morally incomplete beings.” Buffy was all about girl power. You don’t see women in sexy lingerie rolling around a bed just to titillate (when they do that, it’s because they’re under the spell of a demon, and then they kill it).  But, as Joss said, the point in taking the control away from the female lead, in Dollhouse, is for us to be with her as she gets it back. Some fans, however, can almost see the prophetic writing on the wall (Whedon’s last Fox show, Firefly, was cancelled after 12 episodes). There’s the stuff of the network pressure to keep things exciting and, again, mainstream and the writers’ aim of dishing out contemplative stories. My favorite quote so far from Whedon is this:

I believe the best way to examine anything is to go to a dark place. You can’t be a storyteller and a speechwriter at the same time.

So, this just proves that I can’t start talking about Buffy the Vampire Slayer and not keep on babbling. The show ended in 2003 but the story lives on. In comic books. I’ve read that the Buffy season 8 comics actually caused a spike (no pun intended) in the rate of females reading comics. Geek converts! I haven’t bought anything from the past 22 issues but I am keeping myself up to date, through the Internet of course. I’m not even sure if these are available locally, but like an emergency light in the dark, kind-hearted fans are always willing to scan and share stuff so I get to take a peek. 

The comics serve as the canonical continuation of the TV series, but somehow I don’t really accept that (Dawn’s a giant, then a centaur? Warren is alive, but no Anya, no Tara?). Not even if Joss Whedon says so. Ok, I guess I don’t really have a say in that but the covers are pretty awesome, especially those illustrated by Jo Chen (I mean, really, really awesome!).

At the Buffy reunion during the 2008 Paley Festival this year (I saw the DVD), Marti Noxon, producer and writer from TV shows such as Buffy the Vampire Slayer, Grey’s Anatomy, and Private Practice, said that if Joss Whedon will call her one day to say that he’s building a rocket, she wouldn’t doubt him for a minute. Some people are just so talented they come up with unexpected things just by setting their minds onto it. Well, I believe such people only set their minds on things they know they can do; it just surprises others to finally see how much they really can.   

Another person in that panel who has been working a lot is Amber Benson. Her credits include actor, writer, director, producer, singer, and humanitarian. She’s only 31.

From left to right: Amber Benson, Sarah Michelle Gellar, and Emma Caulfield (March 2008, PaleyFest)
 

I’ve been lurking around Buffy forums to read episode discussions and fans seem to love this girl even if she isn’t as well known as her costars, mostly because besides creating an endearing character on TV, she seems to be a genuinely nice person in real life. What impressed me is seeing the range of her work. The acting part seems to be the bread and butter (she’s been in some obscure movies I don’t think I’ll ever watch), but she’s also co-written comic books and books; wrote, directed, produced, and starred in two of her own independent films; cowrote and directed a cult animation called Ghosts of Albion for the British network BBC; written and presented her own stage play; composed and recorded two songs for her fans; and is about to release her first solo book series to be published by Penguin Books.

I would do anything to be able to have half of that. Well, anything that I can do, I mean, without having to pack a Zero Halliburton and travel the world to learn things. Anyway, I haven’t finished watching her first attempt at writing/directing – a movie called Chance (2002) – but I kinda like the opening monologue (voiceover):

All right, you live your life in a totally normal, full-on reality check kind of way. That’s good and cool. Things don’t get messed up. People you love hang around until you can’t stand them anymore. Things never change. But shit like that doesn’t happen in real life. Real life is just a movie with someone’s finger jammed on fast forward. The numbers change faster than you can count. When you’re a little kid, you never think you’re gonna die. I mean death is just some kind of esoteric thing you see on TV or read about it in a book. Then one day you realize what it really is, and nothing is ever the same again. From that day on, you’re f&*%ed.

I’ve read somewhere that the nicest people are sometimes the most insecure ones. To a certain degree, maybe, but I don’t think that’s particularly accurate. I am sometimes nice, sometimes insecure, sometimes sensitive, sometimes self-righteous, and sometimes unapologetically nonchalant. There are instances, though, when the feeling of superiority gets the better of me. That’s why the scene written below resonated with me in a way that doesn’t commonly happen with a rather matter-of-fact delivery of relatively funny dialogues.

Anyway, here’s an excerpt from an episode of, you guessed right, Buffy the Vampire Slayer. People in that show are depicted to be almost always self-righteous, which for some reason didn’t rub me the wrong way when it usually does, and Buffy, being the leader and the one carrying the greatest burden of responsibility, may be the most  pompous of them all, if rightly so.

Scene description:  Buffy is on patrol, waiting for a vampire to stake. When the vampire (Holden) turned up, he made himself known as a former classmate and the two engaged in a surreal conversation while resuming fighting with each other every chance they get. [From season 7, episode 7: Conversations with Dead People.]

BUFFY:
I have all this power. I didn’t ask for it. I don’t deserve it. It’s like… I wanted to be punished. I wanted to hurt like I thought I deserved. I sorta think—you know, this is, um, complicated. If you’d rather just fight…

HOLDEN:
(leans back) Tell me.

BUFFY:
I feel like I’m worse than anyone. Honestly, I’m beneath them. My friends, my boyfriends. I feel like I’m not worthy of their love. ‘Cause even though they love me, it doesn’t mean anything ’cause their opinions don’t matter. They don’t know. They haven’t been through what I’ve been through. They’re not the slayer. I am. Sometimes I feel—(sighs) this is awful—I feel like I’m better than them. Superior.

HOLDEN:
Until you can’t win. And I thought I was diabolical—or, at least I plan to be. You do have a superiority complex. And you’ve got an inferiority complex about it (laughs) Kudos.

BUFFY:
It doesn’t make any sense.

HOLDEN:
(sits forward) Oh, it makes every kind of sense. And it all adds up to you feeling alone. But, Buffy, everybody feels alone. Everybody is, until you die. Speaking of…(stands) you ready for our little death match?

BUFFY:
I suppose. (stands) Thanks, for listening.

HOLDEN:
Oh, you know, there’s some things you can only tell a stranger.

Where there’s life, there’s hope
Every day’s a gift,
Wishes can come true,
Whistle while you work,
So hard all day
To be like other girls,
To fit in in this glittering world.
Don’t give me songs,
Don’t give me songs.
Give me something to sing about.

-Buffy Summers

I’ve been thinking a lot about this song lately. I know, another sad song just by its lyrics. The irony of it is that the sadder I am, the more I crave for songs.  There’s something about haunting melodies that get me all the time. Even when I can’t relate with the exact lines, music touches me in away that mere words can’t. This, coming from someone who fancies poetry just a little too much. I can see myself in a deserted place, cross-legged in a yoga position and eyes closed under the Fig trees , mp3 headset in my ears. Geez, I’m watching too many fantasy shows.

Opening yourself to songs is not without ramifications, though. Sometimes they hit nerves you didn’t know you have. And that’s when you start to lose joy in happy songs.

But then again

Life’s not a song,
Life isn’t bliss
Life is just this,
It’s living.

You’ll get along,
The pain that you feel
Only can heal,
By living.
You have to go on living

- Spike