"I am good for exactly two things: international superstardom, or helping a vampire with a soul to rid the world of evil. That makes for a short but colorful resume." - Charisma Carpenter as Cordelia Chase in "I Will Remember You"
Angel: The Complete First Season DVD Review
By Marlo Serritella
Once upon a time there was a little television show called Buffy the Vampire Slayer. It was the greatest show ever and changed the lives of all who watched it. Sadly, it didn't attract the audience of, say, a show about forensic crime scene investigations. But, to each his own. Anyway, Buffy (Sarah Michelle Gellar) is the one girl in all the world chosen to keep humankind safe from the forces of darkness. But she is not entirely alone in her fight. Filling the role of unexpected ally is the character known as Angel (David Boreanaz). He's drop-dead gorgeous, mysterious, broody, and as we find out in Season One of BtVS, also a vampire. After murdering everyone in his path for a hundred years and eating the leftovers, Angelus (his official, evil name) made the mistake of killing a young gypsy gal whose family sought revenge. Next thing you know, bada boom bada bing, Angelus is cursed with a soul, damned to live out his immortal existence riddled with guilt for his years of massacre and mayhem. But somebody has big plans in store for this tortured demon with a conscience and secret jones for Barry Manilow power ballads. For three years, he fought valiantly alongside the Slayer in helping to avert, by my count, around three apocalypses. And though Buffy is the love of his life, Angel comes to the unavoidable conclusion that he must leave her to fight the good fight on his own. With me so far?
So here begins our story. Still clearly not understanding that vampires don't like sunshine, Angel decides to relocate to Los Angeles. The creator's great inspiration from comic books struck me early on in the premiere episode. A few, particular moments involving a flowing black coat and the saving of a damsel in distress appeared to me almost perfect frames on an illustrated page ("City Of"). Add to that a car that can only be described as the Angelmobile and some 007ish toys, and you've got yourself a superhero. I have also decided, after much deliberation, that you do not necessarily have to be a Buffy fan in order to watch and love Angel. However, the inside jokes will be far more rewarding. Comparing this spin-off to Buffy is both unfair and inevitable. So let's dispense with it quickly. Seasoned with much of Buffy's flavor, Angel's darker and different in tone than the show from whence it came. While many of the major creative forces behind Buffy make up the team on Angel, the show definitely feels unique. It's also clear from the opening credits that Boreanaz can hold his own as the titular character in a series. The evolution of Angel's pain and humor on Buffy bridges nicely into his own story. The character of Buffy always intrigued me because she had to fight to carve out a life in the midst of the madness of her duty. It was through this constant struggle that so much of that show's comedy and tragedy were born. Angel's life, on the other hand, is the battle against evil. Protecting the world is his day job-that is, if he could actually go out in the day. He's not so much concerned about balancing this responsibility with time for dates. Though Angel is on a mission to save the world; I'd argue that it's his mission to save himself that proves far more interesting. And that is where this spin-off distinguishes itself.
A superhero crime-fighter is nothing without his sidekicks. The cast takes shape rather quickly as the audience is introduced to Doyle (the late, great Glenn Quinn). Sent by "The Powers that Be" to aid Angel in his quest to defeat the bad guys, Doyle is half-demon, and half-Irish (that joke is too easy, so I'm going to leave it alone). Doyle receives visions from the Powers that allow him to point Angel in the general direction of the evil. The character has a sweetness that I thought served as a good balance to Angel's more aloof charm. I have a soft spot for unlikely heroes, and Doyle fits the bill nicely. Next up is an old pal from Sunnydale-self-proclaimed bitch, Cordelia Chase (Charisma Carpenter). Cordelia is in L.A. trying with little success to make it as an actress. It's this quest for stardom that leads Cordelia to the swanky pad of an L.A. player who decorates his home with light-blocking curtains and an obvious lack of mirrors. Of course, the big, bad vampire tries to eat her seconds before Angel bursts in to save the day ("City Of"). Remember, the beasties of L.A. are not yet familiar with Angel's brand of vampire justice. Cordelia previews it nicely for her demon attacker: "you're about to get your ass kicked" ("City Of").
So the stage is set. Clearly uneasy with this little band of misfits; Angel sort of begrudgingly accepts his role as the leader. That is to say, he certainly never intended to assemble some low-rent troop of superfriends in fulfilling his personal calling to fight the demon world. As much as he would like to isolate himself, Angel learns that he can't separate from the rest of world if he intends to save it. So, Doyle provides the assignments through the "splittin' migraines that come with pictures" ("City Of"). And Cordy makes the coffee (never fear, there's big things in store for her). In between Doyle's visions, she also tries to find clients who can actually pay to have their personal evil fought. Thus is born "Angel Investigations." This set-up didn't quite work for me until much later in the series. The mix of demon warrior with a touch of L.A. detective made me a bit queasy. In fact, I would argue that this inaugural season of Angel is at its clunkiest when Angel plays more to the role of private dick. Frankly, there are other shows that just do that stuff better. Angel is not Moonlighting (I mean that as a compliment to Moonlighting). But it's a device. I get it. Buffy found her demons on nightly patrols. Angel uses business cards, or tries to anyway.
Unfortunately, the first half of the season is uneven at best. In re-watching Season One on DVD, I was reminded why I didn't stick with Angel in its original run. You were bound to find out sometime, so I might as well out myself now. I watched Angel only sporadically until last year after Buffy had ended when I then drank it in like mother's milk and kicked myself for abandoning it years before. Anyway, my need for serious therapy aside, the series went through some growing pains as it tried to find its rhythm and more importantly, its purpose. Before I get to some harsh particulars below, I want to make one important point. Even though the show suffered from some misguided storylines, I never lost faith that it would eventually find its groove. This is in part because I believe so strongly in the talent of creators Joss Whedon and David Greenwalt. There are also constant glimmers of greatness even in the midst of a not-so-stellar episode. Witty dialogue, solid character development and strong direction make up just a few of the elements that foreshadow the potential of things to come.
The early episodes have a very "monster-of-the-week" feel-each one really more of an insular story than a part of a greater whole. "Lonely Hearts" involves some icky demon that picks up unassuming strangers in nightclubs, has a cheap one-night stand and then takes over the post-coital bodies. There's some lesson here about women and safe sex and power and loneliness that just bored me to tears. Another sadly uninspired early episode is "I Fall to Pieces." Um, will you stop reading if I tell you that this involves some crazy doctor who can magically detach various body parts and send them out to do his bidding? Want to spy on that girl who won't return your phone calls? Don't risk falling off a ladder like a regular old peeping Tom! Learn to harness mystical forces that allow you to float your eyeballs right into her bedroom! Please don't make me talk more about it. In "Expecting," Cordelia dates a seemingly nice guy who impregnates her with fast-growing, supernatural, demon spawn. That's about all I have to say about that. "She" tells the story of a powerful race of female demons that are robbed of their natural strength and sexual energy by the mean men who want to control them. Ok, I was a Women's Studies minor and even I wasn't interested in this lame tale of girl power. However, there is a very brief sort of fantasy sequence in this episode that involves Angel dancing which made me laugh out loud. "Rm w/a Vu" certainly has its moments. But all things considered, an entire episode about Cordelia's new, haunted apartment seemed like an only mildly interesting side story. The title of episode six, "Sense and Sensitivity," got me all excited. But Jane Austen this ain't. There's a stick. It's cursed. It makes people all touchy-feely so that they don't care when evil runs amuck. Finally, "Hero," while important for reasons we'll get to later, also did not do much to hold my interest about an oppressed demon people being killed off by some pure-blood demon troop. Perhaps if Draco Malfoy showed up, I may have been more entertained.
There are, however, a few standout episodes in these first few, rough weeks. Will you think me biased if they both happen to involve extensive guest appearances by Buffy and the gang? "In the Dark" opens with what may be the funniest speech by Spike (James Marsters) in the history of that character. It made me giggle so hard that it turned into the snorty kind of laugh that makes you miss half the lines. Spike-evil vampire with a wicked sense of humor-is in town to recover a little gem that Buffy rudely stole from him back in Sunnydale. This super-special bling allows vampires to frolic in the sun without the pesky burst o'flames side effect, and also makes them impervious to stakes through the heart. Even with such an important task at hand, Spike finds an opportunity to refer to Buffy as "Slutty the Vampire Slayer." That's just good writing, folks. Buffy herself makes a welcome appearance in "I Will Remember You." Long story short, Angel magically becomes human again. This is one episode where intimate knowledge of the Buffy/Angel back-story proves most gratifying. The fact that Angel is an undead vampire is just one of the many reasons these star-crossed lovers can't quite make it work. Buffy resting her head against Angel's beating heart stands as one of my most treasured memories of these characters. I can't bring myself to spoil any more of this for you. Suffice it to say that it ends with me weeping.
As the larger story takes shape, a number of key plot elements and supporting cast members surface. Most unexpected is the death of Doyle, who sacrifices himself in an effort to save his demon brethren in "Hero." His exit is marked by his first (and last), kiss with Cordelia. The kiss brings unforeseen consequences as Doyle passes on the power of the visions to Cordelia through the big smooch ("Parting Gifts"). This revelation comes to light in the same episode that one of my most beloved cast members enters the scene. Wesley Wyndham-Pryce (Alexis Denisof) was not a favorite of mine while he was bumbling around the library back in Sunnydale. A minion of the Watcher's Council (those who the Slayer answers to), Wesley generally screwed things up and got beat up while performing his sacred duties. Though he rolls into L.A. as a leather-clad "rogue demon hunter," he's not exactly the bad-ass renegade he pretends to be. And while his insecurities and inability to handle a weapon serve as a reliable source of amusement, it's clear to me that there is more to this character than meets the eye. I suppose I next have to tell you about Detective Kate Lockley (Elisabeth Rohm). This is not a happy task for me, as I loathed this character from the get-go. Kate serves as Angel's link to the L.A. police department. Apparently, every good TV private investigator needs one of these. Her relationship with Angel just never worked on any level. Miscast, misguided and just a big ol' mistake. I found myself cringing every time she entered a scene. I did a little searching around the Internet to see if you all shared my opinion of Kate. I almost fell off my chair when I read one person's initial, favorable comparison of Kate to Buffy! After I resuscitated myself, I scrolled down to the end of the entry where this same fan was wishing death upon the character of Kate Lockley. I rest my case. Finally, "War Zone" introduces the audience to Charles Gunn (J. August Richards) - street-smart vampire-hunter with a very large chip on his firm, muscular shoulder. By all accounts, I should have hated this episode because it was an obvious attempt to simply bring in a new supporting character. But, we like Gunn. We will allow him to prove himself worthy to fight alongside Angel. We also appreciate a little bit of diversity with this African-American character. It's about time.
Every good superhero also needs an arch-nemesis. This one is a personal favorite, and a villainous entity that is close to my heart-the evil law firm. Demonhood is apparently far more refined in Los Angeles where the scum of the earth have sophisticated representation at "the law firm that Johnny Cochran is too ethical to join" ("I Fall to Pieces"). There are so many ways that this could have been trite and unimaginative. On the contrary, Wolfram & Hart serves as a spectacularly ingenious and entertaining enemy for Angel and the gang from day one. A high-powered L.A. "full service law firm" complete with fancy offices and arrogant associates, Wolfram & Hart's client list reads like a who's who of the demon world (and apparently, the entertainment world). Two talented, young attorneys vying for partnership include Lindsey McDonald (Christian Kane) and Lilah Morgan (Stephanie Romanov). Lilah and Lindsey's struggle to out-evil the other tells me that these two were the bright, shining stars of their law school class: "I hate failure when there's no one else to blame it on" ("Five by Five"). There are whole websites devoted to the complicated relationship between Angel and Lindsey. In the fantastic penultimate episode when Lindsey suffers a temporary crisis of conscience and attempts to break away from Wolfram & Hart, he recounts his sob story of growing up poor. Unimpressed with this tale of woe, Angel quips: "did you get to the part where you're evil . . . I nodded off" ("Blind Date"). Hold on to your seats, kids, we're in for a bumpy ride.
I think that it's just past midway through the season that something shifts. The show gets good. I can even mark the exact moment when I realized this. Wesley is performing an exorcism on a tortured little boy living with a demon inside him ("I've Got You Under My Skin"). There's Latin, there's religious imagery and there's a possessed child on a bed. Hmmm. Haven't I seen this somewhere already? But before you can say "pea soup," it's revealed that it wasn't the kid who was held captive by the demon; it was the demon that was desperately trying to get the hell out of this black-hole of a kid. Good stuff. In "Eternity," a distraught, young actress slips Angel a euphoria-inducing drug in his drink that brings forth the dormant Angelus. Now, time for an important note about Angel and the restoration of his human soul. Basically, if Angel achieves a moment of "perfect happiness," he becomes a homicidal maniac again. See, the point of the soul is to cause him constant guilt. If he achieves perfect happiness, well, that makes suffering more difficult. We learned this lesson the hard way back in the second season of Buffy, when the two of them got all groiny and Angel became bad again. I was highly annoyed at this loophole in the rule that allowed for the temporary re-emergence of Angelus based on the simulation of bliss caused by the drug. Resurrecting Angelus is not some cheap, parlor trick, people. I forgive the writers only because the character of Angelus is just so darn much fun. "Five by Five" and "Sanctuary" are undeniably two of the best episodes of the season. Still on the run after morphing from Slayer to murderous fiend, Faith turns up with a serious need for attention. She's in town just long enough to kidnap and torture Wesley, accept a contract with Wolfram & Hart to kill Angel, seek forgiveness, turn herself in and go quietly of to jail. As my mother would say, now we're cooking with gas.
It's not until the final episode of the season, however, that we learn what's really at stake here. Sure, every day is a battle to avert Armageddon. But, while Angel is out giving the rest of the world a second (and third and fourth) chance to get their lives right, where's his hope for salvation? I've followed this character for a long time now, but I think I'm just starting to understand him. Sired by the treacherous vampire Darla (the fantastic Julie Benz) back in the 1700's, Angel's first order of business is to kill his family ("The Prodigal"). But anyone born knows that won't be enough to ease the pain of a disapproving parent. As Darla so aptly puts it: "what we once were informs all that we have become . . . the same love will infect our hearts even if they no longer beat" ("The Prodigal"). Angel doesn't just carry the guilt of a failed unlife; he carries the failures of a poorly lived life. Every day, he seeks forgiveness. Everyday, it doesn't come. But where there's a Whedon, there's a way. So, after some futile attempts at translation, Wesley unlocks a centuries-old prophecy about the vampire with a soul that foretells of his reward; so the prophecy goes, when Angel fulfills his destiny, he will become human ("To Shanshu in L.A."). Now, what exactly his destiny is and how long it will take to fulfill it are minor details that no one can really answer. But the possibility is there-redemption for his past sins, atonement, peace. We should all be so lucky as to get a little Shanshu.
