May 29, 2004

Last week, I finally saw the last four episodes of Angel. This week I reviewed a few parts, specifics of dialogue being very relevant to interpretation. (Among other things, at least three separate times in the last two episodes, Lorne addresses the television viewing audience directly: Whedon's alter-ego?)

I think I may have caught something of what Whedon may have intended, here: and it made me gasp with awe at his vision and his audacity. At some point I will have to write it out in detail ... although that might be starting to require something of book-length: let's see, "Ascent and Descent", "Higher Beings, Powers That Be, and The Wolf, Ram, and H[e]art", "Pastoral, Growth, Stagnation, Apocalypse", "Christ and Anti-Christ", "Choice and Free Will", "Prophesy, Hope, and Investment in the Future", "Love, Compassion, Empathy and Soul", "Language, Communication, Music", "Will to Power", "Nation as Individual: Bildungsroman", "Nation Contrasting Individual", "Manifesto" ... sigh ... add it to the list of writings in my head and in jotted notes on the backs of transfers and in loose point-form structure and in slabs of text ranging from a few paragraphs to a few pages: and each demanding its own unique me time. Sometimes I think it might have been easier for me to write in McLuhan's time: just toss out the thought probes and the style-as-substance, for the most part let others develop them into established, conventional essay forms.

(Curious echo of formal ecclesiastical doctrine in modern academia's requirement/need/demand for properly citationed and authority'ed work.)

Based on what I have seen of writing on the Internet, the vast majority of fans do not seem to have cared for this ending. The direction of comments ranged from outright hatred to "Did Whedon just lose interest?" Even among those who did like it, not one seems to have seen anything in the series of what I did. I don't know what that says. -- Although, oddly enough: if the theory I am testing holds any water -- among other things, that Whedon chooses to end it precisely in the now: what other reaction could there possibly have been?

Regardless of the degree to which one particular direction for interpretation holds any creator-intended validity: Buffy, Angel, and Firefly were still three of the most substantial, most widely-reaching, most challenging creations ever.

Thank you, Josh Whedon.

Smile of the day:

John gets an urgent call from his blonde girlfriend, Buffy: "I have a problem."

"What is the matter?" he asks, concerned.

"Well, I bought this jigsaw puzzle, but it is too hard. None of the pieces fit together and I can't find any edges."

"What is the picture of?"

"A big rooster," replies Buffy.

"All right," says John, "I will come over and have a look."

So he goes over to Buffy's house, and she leads him into her kitchen and shows him the jigsaw puzzle on the kitchen table. He looks at the jigsaw puzzle, and then he turns to Buffy: "For Pete's sake -- put the cornflakes back in the box."

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