But the remixing is not just a matter of turning it up to epic, it also involves exposing the silliness AND the emotional underpinning that's always been there. It's like a Douglas Sirk movie, where it's being played straight and being mercilessly self-mocking at the same time.
Joss has always said that BtVS (of all his shows) had a musical sensibility and that works very like Sirk. It's at once utterly ridiculous that people are breaking into song and utterly true to how they feel. I guess I've always felt that knife edge, that head turn away from absurdity in Buffy. The world-building has never held together as world-building but that's been a strength not a problem to me. The comics don't feel so different. Angel always was Captain Hammer, I don't need to be told that Buffy is his Penny, that's been clear from the start, I think she knows it too. But he's not just the guy who thinks he signaled her with his eyes, he is someone who needs her to save him in a real human way too. So I wonder whether where this is going isn't deconstructing the Bella/Edward of B/A but the Jane/Rochester and that's more interesting because Buffy needing to save people isn't a weakness to get over, it's a strength, it's part of what makes her heroic. There's a genuine dilemma there a very Jossian one about passion. Can't live with it, can't live without it.
no subject
Joss has always said that BtVS (of all his shows) had a musical sensibility and that works very like Sirk. It's at once utterly ridiculous that people are breaking into song and utterly true to how they feel. I guess I've always felt that knife edge, that head turn away from absurdity in Buffy. The world-building has never held together as world-building but that's been a strength not a problem to me. The comics don't feel so different. Angel always was Captain Hammer, I don't need to be told that Buffy is his Penny, that's been clear from the start, I think she knows it too. But he's not just the guy who thinks he signaled her with his eyes, he is someone who needs her to save him in a real human way too. So I wonder whether where this is going isn't deconstructing the Bella/Edward of B/A but the Jane/Rochester and that's more interesting because Buffy needing to save people isn't a weakness to get over, it's a strength, it's part of what makes her heroic. There's a genuine dilemma there a very Jossian one about passion. Can't live with it, can't live without it.