Kate Eccles (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
avarielwings) wrote2003-01-07 02:09 pm
avarielwings) wrote2003-01-07 02:09 pm
(no subject)
First day back at uni yesterday.
Got to the station and was immediately glomped by Chris, Paul and Emily all at once, which was nice. Apparently, half the ceiling of Chris' flat has collapsed due to some fault in the water tank, so he and all his flatmates are living in a hotel all expenses paid until it's fixed. Jammy bastards.
Also saw Martin (briefly) and, later, Duncan. Caught Duncan in the bar having a sneaky drink before he went home to work on the two physics essays he had two days to write. We had a very long and rambling conversation from the bar all the way back to Brighton on the train, which covered, among other things, the genius of Once More With Feeling.
I have to say, I never realised before how dirty the first version of Under Your Spell is. I guess I just wasn't listening carefully enough. Other elements of genius in that show include Spike's complicated feelings for Buffy being laid out clearly in three lines, the wonderful last line of The Parking Ticket, and the fact that so much character and plot development is achieved in song.
But why do some people not understand that during the last bit of Something to Sing About, Buffy's voice is supposed to go flat on "heav-en", and it's not just that SMG can't sing, because she can?
There's something else I noticed during I've Got a Theory. Willow mentions a past threat (the little boy who involuntarily trapped them all in his dreams in Nightmares). Giles guesses their present adversary correctly ("a dancing demon"). And Xander suggests "evil witches". Could this be one of Joss Whedon's sneaky references to the future of the show? Because what Willow becomes in later episodes pretty much sums up "evil witches", and that would fit in with the "past, present ... future?" theme. I'd love it if that was true!
Got to the station and was immediately glomped by Chris, Paul and Emily all at once, which was nice. Apparently, half the ceiling of Chris' flat has collapsed due to some fault in the water tank, so he and all his flatmates are living in a hotel all expenses paid until it's fixed. Jammy bastards.
Also saw Martin (briefly) and, later, Duncan. Caught Duncan in the bar having a sneaky drink before he went home to work on the two physics essays he had two days to write. We had a very long and rambling conversation from the bar all the way back to Brighton on the train, which covered, among other things, the genius of Once More With Feeling.
I have to say, I never realised before how dirty the first version of Under Your Spell is. I guess I just wasn't listening carefully enough. Other elements of genius in that show include Spike's complicated feelings for Buffy being laid out clearly in three lines, the wonderful last line of The Parking Ticket, and the fact that so much character and plot development is achieved in song.
But why do some people not understand that during the last bit of Something to Sing About, Buffy's voice is supposed to go flat on "heav-en", and it's not just that SMG can't sing, because she can?
There's something else I noticed during I've Got a Theory. Willow mentions a past threat (the little boy who involuntarily trapped them all in his dreams in Nightmares). Giles guesses their present adversary correctly ("a dancing demon"). And Xander suggests "evil witches". Could this be one of Joss Whedon's sneaky references to the future of the show? Because what Willow becomes in later episodes pretty much sums up "evil witches", and that would fit in with the "past, present ... future?" theme. I'd love it if that was true!