3) Something Blue (Season 4, Episode 9; Aired 11/30/99) & Fool For Love (Season 5, Episode 7; Aired 11/14/00)
Okay. So I’m cheating a little bit by squeezing two episodes into one slot. The thing is, I just love Spike SO. MUCH. So, so much. Hence, I wanted to squeeze in one funny Spike ep and one serious one for the well-rounded Spike experience, and there’s nothing you can do to stop me!
The most disappointing thing about both episodes is that we have to deal with Riley, and ugh, Riley. Having to look at his boring, valiant, perfect man-boy face reminds me so much of having to look at the boring, perfect, man-boy face of Dean for so many seasons of Gilmore Girls, and it’s like, come on, we all know Buffy Summers and Rory Gilmore are too good for you big boring dudes, geez.
Anyway. In “Something Blue,” Willow is super bummed about the sudden departure of Oz, and in her depression makes a witchy spell gone haywire which causes everything she says to be true. This results in Giles turning blind, Buffy and Spike being in love, and Xander being a “demon magnet.” (Xander, as often happens, really got a raw deal on this one.)
This entire episode is worth it just for the ten minutes of Buffy sitting on Spike’s lap as they dreamily plan their honeymoon while Giles bumbles around, flabbergasted and confused on so many levels. It is genius! Genius!
In addition, while Buffy Summers is actually normally not my type, she is looking particularly hot throughout this whole episode, especially with the casually-yet-perfectly messy hairdo and tanned shoulders deal she sports as she comforts a devastated Willow.
The beginning of “Fool For Love” starts in a way we’re not used to: it begins with Buffy losing. After a vamp stabs her in the abdomen with her own spike and almost kills her completely before Riley (ugh) heroically steps in, she’s forced to cope with thoughts of her inevitable immortality. For advice, she turns to Spike to get details on how he killed the two slayers he’s slain in the past.
I love any episodes of any TV show like these, where we are transported to worlds within a world to view a character’s history, because I feel like the writers and creators really get to let their imaginations run wild. The first Spike we meet is 19th century Spike, a love-scorned, heartbroken poet (aww, Spikey), who soon turns bad after his fateful run-in with Drusilla.
Fast-forwarding to the 1970s in New York City, the second Spike we meet is a punked-out, pierced, ripped-stonewashed-jeans wearing Spike fighting a slayer on a graffitied subway car. This Billy Idol Spike makes me want to leap with joy! It is so perfect! Perfect! And the editing of this whole scene, with the camera seamlessly splicing between his battle with the 1970s slayer and his conversation with Buffy outside the Bronze as he lays down the harsh reality of Buffy’s world, of her inescapable attraction to death, is just so wonderfully done.
Spike: I could have danced all night with that one.
Buffy: You think we’re dancing?
Spike: That’s all we’ve ever done.
But then. Then, Buffy is such a big, cruel, horrible stupidface.
When he acknowledges the obvious sexual tension between them, knowing that he understands her in a way others don’t, she not only shoves him away with the shattering line that he, as always, is “beneath her,” but she deepens the pain and shame of her rejection by throwing her money all over him! And then she walks away like a badass! And he cries! And my heart twists itself all around my ribcage for his wasted love for her! Spike!
But then he gets pissed, and is all, “I’M GONNA KILL YOU, YOU SLAYER, YOU,” and marches up to her house with a gun, but then when he sees that she’s been sitting on her back porch crying, his face completely collapses because he just love-hates her so much and he only wants to comfort her and you know he would do anything for her just like Snape would do anything for Lily Potter!
Screw it, I’m making myself some ice cream anyway.