FEATURE: Angel - First Impressions

Previously on Angel: Angel has discovered the useful sanctuary of The Host, where people go to sing in order for him to "read" them. He's also made an ally with Charles Gunn, who had to stake his recently turned sister, and the office has moved into the Hyperion hotel. Elsewhere, Wolfram & Hart have resurrected Darla in order to get to Angel.

Gunn arrives at the hotel for an appointment with Angel to go after a snitch for information on a demon named Deevak, but Angel has been asleep all day, dreaming of a date with Darla. Eventually, they make it to the meet, but are attacked by vampires; they take them out, but Angel struggles in the fight. Later, Cordelia has a vision of Gunn in danger. Unable to reach Angel who is asleep and dreaming again, Cordelia heads out to help Gunn and the pair have to team up, but Deevak is lying in wait for them.

Whereas last week, the focus was very much on Angel himself, First Impressions is a chance for us all to get to know Gunn a little better as well as spending time getting to know the new, improved and more selfless Cordelia. As odd couple pairings go, he of the poverty-stricken minority and she of the white privilege, it's one that's not perhaps mined for as much as its potential would suggest, but it functions enough for the character explorations needed. Gunn's still smarting from losing his sister and his continuing spiral into self-destruction just isn't acceptable now he's part of the team. Cordelia's little pep talk to him at the end of the episode is one of her best moments, a big sign of her willingness to change and put herself out there for other people.

The other great moment of the episode, though not especially important to the plot, is the ongoing development of the friendship between Angel and Wes (which we all know is going to real rocky soon). I don't have much else to say about it, but it's a scene so good that I'm going to print it here:

Wesley: Come on. What are you waiting for?
Angel: [holds up a pink motorcycle helmet] I-I-I really don't think it's gonna fit.
Wesley: Oh, of course it will. Put it on.
Angel: You know, I-I don't need a helmet for protection.
Wesley: Angel. It's the law in California. Do you want us to get pulled over?
Angel: No.
Wesley: Then what's the problem?
Angel: Well, it-it's just, you know... the whole... visibility issue, not to mention the whole hat-head thing and, you know, when you really think about it, how come I have to wear the ladies helmet?

Wesley: Stop being such a wanker and put it on!

[Angel puts the pink helmet on]

Wesley: Looks good. Hop on board gorgeous.

Angel: You'll pay for this.

The other element of the episode and one that plays more into the season's ongoing storyline is the Darla dreams that Angel has been having. Dreams are a funny thing in the Buffyverse, often prophetic, but nearly always dangerous in some way. The episode has some sly fun with Angel's dreams, allowing The Host to crop back up and reference Angel's eclectic music taste as well as showing Angel and Darla moon-bathing, completely with sunglasses and beach loungers. 

I like that Darla's tactic is to tempt Angel away from his path, shortly after his resolve to continue down it and help people for little or no reward. It's especially key after we see his more apathetic state towards humanity in Are You Now or Have You Ever Been, demonstrating that Angel is perhaps a little more corruptible than he likes to think if his resentment is high enough. Having Julie Benz back in full devious Darla mode is always a joy because she's one of the few characters to have made a massive impression with just a little runtime. Exploring her relationship with Angel further, as well as allowing Benz to be all sly, offers a good undercurrent for the rest of the episode.

Quote of the Week:

Cordelia: Maybe *we* can help.

Gunn: You two? I find Deevak, I'm gonna need more than C-3PO and Stick-Figure Barbie backing me up, no offense.
Wesley: Very little taken.

Let's Get Trivial: It's a truth universally acknowledged that a Jane Austen reference is a fine thing to get into a fantasy series about vampires. The episode title is a nod to Pride and Prejudice's original title and the plot carries the familiar hallmarks of two very different people coming together after initially not getting along very well. Not much romance between Cordy and Gunn though.

- Becky

You can read Becky's look at previous episode, Are You Now Or Have You Ever Been, here.

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FEATURE: Angel - Are You Now Or Have You Ever Been

Previously on Angel: In the ongoing battle against Wolfram & Hart, Angel's offices were the first casualty, blowing up rather spectacularly. They're in need of a new place. 

After he briefly visited an old hotel in the previous episode, Angel becomes intrigued by the building’s past and gets Wesley and Cordelia to start investigating as he heads down to the hotel itself. The Hyperion dates back to the 1920s, but Angel has a history that he doesn’t disclose at first, having been a resident there in 1952. Strange events date back throughout the hotel’s past, including during Angel’s residency when a man in the room next door kills himself and sparks off an amateur investigation with disastrous results. Meanwhile, in the present, Angel seeks to destroy the Thesulac demon for good.

I adore the Hyperion set in all its 1920s glory. The production design and the way that it is shot in the 1950s flashbacks gives it a Gothic feel; long, dark corridors seem to stretch on forever, people lurk in shadows and it never feels entirely visible. Some of the colours used, muted greens and reds, also ensure that the episode has a pulp fiction look to it (of the Dashiell Hammett variety, not Tarantino). 1950s Judy is a classic mysterious dame with a stolen stack of cash and a secret; she's passing as a white woman at a time when being Other was not at all recommended. Like Angel, she's an outcast. He gets to be her brooding hero, begrudgingly deciding to help her.

That style builds into the world of the other guests of the hotel, glimpsed only through brief scenes in which they speculate about the guy who killed himself in 215. There's a blacklisted writer (McCarthyism is in full flow, seen briefly on a TV clip containing the episode's title) who sees it is as one of his plots, a blonde in a green dress with the kind of husky voice you expect in a noir and an actor who may as well have walked straight off the set of Dragnet. Just the facts, ma'am. Of course, they don’t actually have a clue what’s happened because it’s a Thesulac demon sucking the life out of the guests.

Everything, naturally, spirals out of control. Judy saves her own skin by pointing the finger at Angel and suggesting he’s a murderer. The angry mob hangs Angel and the Thesulac demon feeds on their rage. Setting it in the 1950s, a time of great paranoia and prejudice, is a masterstroke and really builds into the general uneasy atmosphere that the flashbacks carry. The moment is a crucial turning point in Angel’s post-soul life, trying to help out humans and receiving their ire and violence as a result. It’s hardly surprising that he allows the Thesulac to feed on the residents of the hotel after the lynching. It’s a really dark move and one which blurs the line between Angel and Angelus somewhat,

There’s a heavy foreshadowing of Angel’s indifference to Dru and Darla feeding on Wolfram & Hart lawyers later in the season, but there’s not just darkness there. There’s hope too. The final scene with Old Judy, in which he forgives and comforts her after her years of torment since his apparent death, shows Angel’s life is one of peaks and troughs. He may lose his way occasionally, but with the right people around him, he’ll find his way back.

Are You Now Or Have You Ever Been is a classy affair, one of Angel's finest, that both looks great and does a lot of solid character work for Tall, Dark and Forehead too. I like that there aren’t any really big set pieces here, no heavily choreographed scraps. Instead, it feels like Angel at its most human, exploring the kind of negative side of mankind whilst also demonstrating the need for forgiveness in order to move on. Plus, Angel looks pretty natty in 1950s threads.

Quote of the Week: 

Angel: Watch his tentacles!

Cordelia: Excuse me?!
Wes: Tentacles.

Cordelia: Ooh...

Let's Get Trivial: The odious bellhop's name is Frank Gilnitz, a reference back to writer Tim Minear's time as a writer and story editor on The X Files. "Gilnitz" was a name often used by The X Files writers' room for incidental or unseen characters, usually with the first name John. An amalgam of John Shiban, Vince Gilligan and Frank Spotnitz, the name became a running joke in the sci-fi series.

Demonology 101: Angel catches a Bible that is thrown at him by the bookshop owner and it burns his hands. This is the first time in the Buffyverse that it is confirmed that Bibles are harmful to vamps.

LA Who's Who: The concierge, Ronald Meeks, is played by John Kapelos. You Breakfast Clubbers might recognise him as Carl, Shermer High School's janitor.

- Becky

You can read Becky's look at previous episode, Judgment, here.

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FEATURE: Angel - Judgment

Previously on Angel: The gang are working LA to fight demonic crime and help the helpless. In the process, they find themselves on the wrong side of a bunch of lawyers determined to bring Angel down, resurrecting Darla as part of their plan. Angel has formed an unlikely alliance with a vampire hunter named Gunn.

Since the explosion that destroyed their offices last season, Angel Investigations has been working out of Cordelia's apartment, complete with assistance from Phantom Dennis who has been very keen to help. When Cordy has a vision of a horrific monster, Angel goes on the hunt to track it down, but discovers that, when he kills it, it's not an evil demon. It's protecting a young pregnant woman whose fate is to be decided by a mystical tribunal and Angel just killed her champion. Wracked with guilt, Angel sets about trying to help, taking on the role of protector himself in order to save the young woman and right the wrong he committed.

If ever there was an episode that functions as a microcosm of Angel's ongoing mission, then Judgment is it, boiling down to Angel kills someone and then has to atone for it. One thing Whedon shows (and films) have always excelled at is the reintroduction of the show's MO and key themes, as well as sometimes expanding the world beyond what we're used to. After the Shanshu Prophecy revealed that he will become human again once he achieves his redemption, Angel's been going after the demons in LA hard and fast, but quickly learns over the course of the episode that this isn't about keeping score, but doing the right thing. We're introduced to The Host and his sanctuary nightclub, swiftly confirming the idea that not all demons are evil and that safe places exist within the downtown area.

Within just a few scenes, Angel has reasserted everything we know, reiterated Angel's ongoing quest for redemption and widened the world out to explore something more in how the demon world works. Lorne's introduction and narration is a key part of that, reminding us all of the kind of city LA is in this world (and singing Gloria Gaynor is a cracking joke). Likewise, Angel, Wes and Cordy interrupting the sacrifice in the gym swiftly asserts their respective roles. It's an astonishing bit of exposition that never feels like it, but instead feels like we're cosying back down with a few friends we haven't seen for a while. 

Judgment also contains two of the most memorable images of the series' run. The first is David Boreanaz absolutely slaughtering 'Mandy' in order to get information out of Lorne and admitting he's a fan of Barry Manilow's hit because he thinks it's pretty. Then, there's the big joust itself. I've only seen this episode once prior to this rewatch viewing, but the sight of Angel, on a horse and kitted out like a Knight of the Round Table on an LA street is one so incongruous that it sticks like glue in the memory. Not many shows could pull of that kind of image.

The last scene with Faith is a lovely moment to end on. She and Angel share their respective roads to redemption and support each other accordingly, a nice continuation of the relationship that was touched upon back in the third season of Buffy and cemented in Angel's first season. It offers up a different, more vulnerable dynamic to Angel's character that isn't often seen in his more leadership role with the Angel Investigations crew. It fits nicely into the undercurrent of the episode, around second chances and the ability to change your nature and go against it. 

A strong return then for Angel in the second season. I didn't even touch on Wolfram & Hart, but their Darla plan is already rumbling along nicely in the background. Now, if you don't mind, I need to go and listen to something catchy to get that damn 'Mandy' out of my head.

Quote of the Week:

Angel: There are three things I don't do; tan, date, or sing in public.

Let's Get Trivial: The closing credits feature outtakes from Angel's hilarious performance of 'Mandy'; stay to the very end post "Grrr, Argh" to hear David Boreanaz's Elvis impersonation: "Thank you, thank you very much."

LA Who's Who: The late Andy Hallett joins Angel's revolving cast of regulars as The Host, later known as Lorne. J. August Richards is bumped up to series regular and Eliza Dushku makes a quick appearance as Faith, her name hidden in the closing credits rather than the opening ones to keep the surprise.

- Becky

You can check out Becky's look at previous episode, To Shanshu in LA, here.

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FEATURE: Angel - War Zone

Previously on Angel: The big guy's had a bit of a bust-up with Buffy over the Faith issue, but his reputation is starting to spread across LA. It's attracting new clients and his fair share of enemies.

Cordelia organises a meeting with a big software billionaire, David, who is having a little issue with the fact he got a bit too into Dungeons and Dragons and went to a demon brothel. Angel takes the case to retrieve any evidence of David's dalliances before his stakeholders can find out. His investigation leads him to a gang of homeless youths in South Central who have been waging a territorial war with LA's vampire population. Trouble is, they think he's a new Big Bad that needs defeating. Hijinks ensue, people are lost in the fight and Angel finds himself with a new begrudging ally in one amateur vampire hunter Charles Gunn.

War Zone suffers from its position in the season, right after the extraordinarily good Faith episodes and prior to the last two episodes, which are decidedly more meaty. It's a bit like Go Fish in the second season of Buffy though thankfully produces something a bit more successful than walking fish men. 

In fact, the whole episode is quite the heavy-handed social exploration, covering the gamut of class from the wealth of David to the grinding poverty that Gunn and his gang endure. There's references to race in there too, though, perhaps wisely, they let the casting of Gunn's people do it for them. It's not the show's best attempt at finding a real-world commonality with demon-fighting, but it's admirable of them to try, even if they don't really find any depth within it nor pursue it to any kind of meaningful outcome.

In truth, the biggest occurrence in this episode is the arrival of Gunn, full of rage and violence, markedly different from Angel's brooding, Wesley's repressed desperation and Cordy's openness. J. August Richards hits the ground running in a role that goes on to have one of the most interesting arcs across the series (though it takes until the fifth season to properly go for it). It's a sad introduction and a sobering one, having to stake his recently turned sister to prevent her from killing him. Although I grow increasingly tired of women being sacrificed in popular culture in order for men to learn lessons, I can't deny it tugs at the heartstrings. 

I do love the final scene between Gunn and Angel, a twist on the usual 'mentor' type relationship in that Gunn doesn't want any advice and Angel doesn't really need to give it. It's a begrudging alliance, for sure, but it'll prove to be a solid one. It also helps that it isn't a scene in which Angel offers to help Gunn, instead switching the power dynamic to leave Angel as the one who might come seeking Gunn's help in future. 

Quote of the Week:

Cordelia: They locked you in, huh?
Angel: No! I just love old meat lockers...
Wesley: You should have tried to call us on your cell phone. You probably forget you had it.
Angel: Those things hardly ever work. Besides, it was a lot easier and quicker to just- Look, I'm the boss here. I say when we use the cell phones and people are gonna die and I have to go.
Cordelia: You're welcome!

Inventive Kill: A badass stake gun on the back of Gunn's truck stakes a vamp from afar.

Let's Get Trivial: Charles Gunn was added to the cast thanks to Joss Whedon deciding that she show needed a character to work with Angel who was very different from either Cordelia or Wesley. It also helped to finally up the Buffyverse's diversity quota, albeit marginally.

- Becky

You can read Becky's look at previous episode, Sanctuary, here.

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TV REVIEW: Agents of S.H.I.E.L.D. - Pilot

To say that Agents of S.H.I.E.L.D. was highly anticipated is something of an understatement. Not only is it following in the wake of one of the biggest movies of all time, but it is also created and the pilot directed by current man of the moment, Joss Whedon, finally in the spotlight after years as a cult favourite. 

Those expecting to be instantly blown away by the show or expecting all the best bits of the Marvel Cinematic Universe in a TV episode might be disappointed. Agents of S.H.I.E.L.D. does not immediately hit the ground running with fully formed characters, a cohesive team or the atmosphere that Marvel have garnered in their films. And nor should it because this an expansion, not a recreation. Thankfully, it is a solid start to a television show that has the unenviable task of emerging from the shadow of the MCU, but also of ensuring that it belongs in that world of superheroes, operating on a much smaller scale than an Iron Man movie. 

A neat introductory montage quickly establishes the shifts that have taken place in this Marvel universe since the Battle of New York with flashes of Thor, Captain America, The Hulk and Iron Man all making a very brief appearance. The biggest connections though are the shiny insignia of S.H.I.E.L.D. itself and its agents, Maria Hill (a guest appearance from Cobie Smulders) and the returning Coulson, first name Phil (Clark Gregg who is just great). The longstanding connection across the MCU, Coulson's death in The Avengers was the galvanising factor and a suitably gut-wrenching moment. When it was announced he would return, I thought it would cheapen this but thankfully, there seems to be much more going on then he was dead for a little bit/held his breath. Also, his entrance was immediately my favourite moment of the episode. I may have guffawed.

The scale of S.H.I.E.L.D., when compared to what has gone before, is much smaller, but this is not to the detriment of the unfolding action which takes on a more individual focus through the figure of Mike, played by Whedon stalwart J. August Richards, who finds himself blessed/cursed with super-strength. With his backstory of being made redundant due to an injury and unable to find a job despite his new powers, Mike is a product of the economic climate; an everyman who can't catch a break. He's also very aware of his place in the story; rather than go for the moral black-and-white of 'he's about to explode = bad guy", Mike is placed firmly the grey area, capable of being the hero or the bad guy. The MCU may be dealing with gods, aliens and monsters, but the television branch has firmly set out to tackle the human story, those dealing with the knowledge that they are no longer the most powerful beings on Earth.

In the middle of it all is S.H.I.E.L.D., the agency tasked with preventing these situations from getting out of hand, tracking down Chitauri technology (if you haven't seen the Marvel one-shot on this theme, Item 47, track it down) and contain any threat. Now if you're familiar with Whedon's work, you'll know that shady corporations causing problems for our heroes are a fairly standard theme; think The Initiative, Wolfram & Hart or the Alliance. The thing this, now S.H.I.E.L.D. are the shady organisation, something which Mike is quick to point out to Coulson in their confrontation. It's an interesting dynamic and following on from Nick Fury's meddling in The Avengers and the shadiness surrounding Coulson's resurrection, it's clear that the upper echelons of S.H.I.E.L.D. may still not entirely be the good guys.

We also have potential antagonists, The Rising Tide, who we are introduced to early and meet one of their members, Skye (Chloe Bennett) who also serves the function of our introduction to S.H.I.E.L.D. Every science-fiction show seems to have this; the new recruit discovering this world for the first time and thus allowing the audience to do so too (think Dana Scully, Olivia Dunham, Gwen Cooper - I'm now noticing another pattern here...). However, in S.H.I.E.L.D., we got two of these and it was perhaps the only aspect of this episode that felt very clumsy. First up, there was Ward (Brett Dalton) and his assignment to Coulson's new team and then Skye herself, who for someone so against S.H.I.E.L.D., was remarkably quick to sign up. Convenient for the pilot yes, but just a little jarring.

The characters do look promising though and I particularly loved Ming-Na Wen's performance as obvious badass Melinda May whose backstory I am already desperate to know. Currently fulfilling the nerdy comic relief requirement, the combination of Fitz (Iain de Caestecker) and Simmons (Elizabeth Henstridge) also promises a great deal while Ward fills the action man requirement nicely. Much of the episode kept the team apart so whilst they had moments to individually shine, there's not much to go on just yet as to how they gel as an ensemble though I'm looking forward to learning more about them as the show progresses. It is, as expected, Clark Gregg who steals the show. All of the affability and then badassery that makes Coulson so great was present and correct and so too was the gravitas that makes him such an effective thru-line in the Marvel movies.

A promising start then from the men and women in dark suits and sunglasses. There is enough of a hook to keep everyone interested and it's going to be fun to get to know these characters and find out what place in this Marvel world they will possess.

- Becky

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