Eggs Mayonnaise
All In With The Nuts
And has sex with Giles, then runs away with Xander's doppelganger to South America to become a band candy dealer.
[A vampire rises on one of the other tables]
And then that. That's not helping anybody. Now, some people were like, "Why a vampire in this episode?" But I was very specific about it. I wanted a vampire, first of all, who looked more like a corpse than anything else. And here's young Dawn confronted by, not only a vampire but a naked man. It's an intrusion. It's offensive. And completely physical. And that's what I…
[The Scoobies return laden down with food and drink]
And then of course they're so cute with their food. And believe me, the giving of food is a huge ritual of death. It's usually not vending machine food but it often is.
And I'm explaining death, like anybody who's watching this hasn't experienced it. I'm just explaining why I did that.
But the idea of the vampire was partially that it is an intrusion, it doesn't belong here. The way Tara finds herself being the only one sitting with Sarah and feels she doesn't belong – but then actually has something to offer. The way they're getting a parking ticket. Life goes on. And on 'Buffy the Vampire Slayer' that means horrible things happen.
[Buffy goes looking for Dawn, sees the vampire attacking her]
And this fight was done differently than any other fight I'd done before. I made it as much of a gross wrestling match as I could. Hands in the face. And then of course pulling the sheet off of Joyce in the worst way possible. But rather than a great, cool kick-boxy fight I made this like a genuine struggle. Because again I wanted to stress the reality of it and killing the guy.
[Dawn sees the sheet has been pulled off Joyce's body]
Dawnie is getting what she was looking for. Again, she can't quite – the frames are never as clean as we want them to be in this show.
[Buffy fights the vampire]
You see, we really painted him up to look dead. And when I kill him again I do it the worst way imaginable, because I wanted… ugh… to be in your face with it. If I say "physical" again, or "real", you guys are just going to turn this off, so I won't.
And then we're into the end.
[Buffy and Dawn look up at their mother's body]
This was a very difficult shot. We didn't have room for dolly track but we had Bill Brummond, cameraman– Steadicam extraordinaire, basically aping a dolly shot by walking up onto a ramp so I could get the three-shot that I desperately wanted. To go from Buffy, to Dawn, to the three.
["Where did she go?"]
The fact of death being physically real and physically unreal is expressed here… this isn't the last shot, it's expressed in the last shot after Dawn says those words – words that cannot be answered by anybody – and reaches out to touch her mother. In a show that's been all about physicality, this girl who needs to know, to understand… never touches her.
[The show cuts to black just *before* Dawn touches Joyce's body]
And that was done very specifically. And some people said, "Oh, that means next week, Dawn's going to heal her with her Key powers!" And I was like, "What show were you watching?" No. It meant "We want to touch it, but there's nothing there." And to go out just before she touches her was to express that. To express what I've been talking about the whole way. There is no resolve, there's no resolution, there's no ending, there's no lesson. There's just death.
Well, I hope you've had a good time. I know I have. Bye!
I DON'T KNOW. In a lot of ways, season 5 is just a disconnected series of pretty solid episodes, without the ambition or thematic consistency of even seasons 6 or 7. It's *fine*, but it's definitely the blandest Buffy season.What does Glory mean to Buffy thematically?