My engine is a purring and it can't wait to roar! God, why can't it be Tuesday already? The suspense is 100% tortuous!
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by Unregistered(d) » Wed Mar 27, 2002 2:20 am
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by Unregistered(d) » Wed Mar 27, 2002 2:20 am
TELEVISION REVIEW
'Buffy' Discovers a Song in Her Heart
By HOWARD ROSENBERG, Times Television Critic
We know that demonically seductive "Buffy the Vampire Slayer" can carry an hour by smoothly mingling humor, action and poignancy. But can it carry a tune?
You'll find out tonight when this unique series, still endearing, smart and effortlessly witty after relocating to UPN from the WB, presents a musical that becomes the hour's plot. One moment Sarah Michelle Gellar's benevolent and resourceful Buffy is saving the world, the next singing and dancing. And executive producer Joss Whedon, who wrote the songs and lyrics, has Buffy wondering just what is going on.
"Did anyone burst into song?" she asks her friends. As a matter of fact, yes. To prove it, they schmooze about it musically as a chorale: "What's this cheery singing all about?"
They're not the only ones, though, for soon we're seeing customers emerging from a cleaners and delivering a thundering aria: "They got the mustard out!" And just look at that poor, distraught woman, singing her protest to a cop giving her a parking ticket: "It isn't right. It isn't fair. There was no parking anywhere. I think that hydrant wasn't there."
In addition to Whedon, clearly something dark and otherworldly is afoot in Buffydom. Could the culprit be Sunnydale's newest resident, a jazzy demon who can't sing a lick but dances gracefully (Tony winner Hinton Battle)? Did he summon up "this whole evil musical extravaganza," forcing Buffy and her friends to sing their private thoughts to one another? That includes gentle Giles (Anthony Stewart Head) and that snarling hero-come-lately Spike (James Marsters) revealing their true feelings about Buffy.
What's not to adore about this series, with Buffy back among the living and at a life crossroads now after dying in a cliffhanger at the end of last season? It's as funny as ever, too, as in a recent episode when Buffy had a fight to the near death with a mummy's hand and was tormented by a trio of demonically challenged dorks. As a bonus, years of being a tenacious slayer have not cost Gellar her freshness.
Now comes tonight's ratings sweeps-tailored episode that features bold creative risks that are rare for prime time.
Don't expect the Sharks and the Jets. The cast does its own singing, the voices ranging from small to thin, and you might want to drive a stake through a couple of these numbers.
Yet this is great fun, the best coming when Buffy's closest friend, Willow (Alyson Hannigan), and her girlfriend, Tara (Amber Benson), sweetly serenade each other ("I'm under your spell . . . "). And Buffy's sister, Dawn (Michelle Trachtenberg), has a nice little ballet with a trio of nimble demons.
Best of all, they got the mustard out!
"Buffy the Vampire Slayer" airs tonight at 8. The network has rated it TV-14-DLS (may be unsuitable for children younger than 14 with special advisories for suggestive dialogue, coarse language and sex).
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"I know we're dying and there's no sign of a parachute in this chapel, little chapel of love, can't we get a little grace and some elegance? Why can't it be beautiful? Why does there gotta be a sacrifice?" -- Tori Amos
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by Unregistered(d) » Wed Mar 27, 2002 2:20 am
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Tara: My heart doesn't stutter.
Tara: Willow, I got so lost.
Willow: I found you. I will always find you.
Tara: Nobody messes with my girl!
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by Unregistered(d) » Wed Mar 27, 2002 2:20 am
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by Unregistered(d) » Wed Mar 27, 2002 2:22 am
Quotage:
"Amber Benson has a lovely voice, and her song to Willow was beautiful. The duet with Anthony Stewart Head nearly had me in tears, mostly because he has such a wonderful voice, and did that heartbreaking song that led up to it. Excuse me while I turn to jelly for a moment.... "
Loey gives the ep 10 out of 10.
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by Unregistered(d) » Wed Mar 27, 2002 2:22 am
oss Whedon spent his summer vacation concocting a very special "Buffy the Vampire Slayer" for UPN writing the score for a full-blown musical episode, then returning to write and direct it.
As when "Ally McBeal" enlisted Randy Newman to write a musical finale two seasons ago, tonight's special "Buffy" (at 8o'clock) is fun to watch to learn which cast members have the best singing voices and how their numbers will be written and staged.
With this show, though, the original song lyrics are so introspective and instructive, we also learn a great deal more about these familiar characters, even as they learn more about one another in shocking detail.
The ambitious scope of tonight's show, given the title "Once More, With Feeling," is impressive. Even more impressive is that Whedon, when mapping out this seventh "Buffy" episode of the season and planning its emotional arcs and pivotal plot turns, had to know where his characters would be at that point.
So rather than standing alone as a special episode, this musical "Buffy" picks up right where last week's show left off.
Buffy Sings!: Sarah Michelle Gellar (r.) and James Marsters star in 'Buffy the Vampire Slayer.'
Buffy (Sarah Michelle Gellar) is still reeling from being raised from the dead, while Willow (Alyson Hannigan) is growing more powerful and reckless with her witchly magic since casting the spell that raised her. Xander (Nicholas Brendon) and Anya (Emma Caulfield) are engaged but nervous. Giles (Anthony Stewart Head) feels out of place as the oldest, and Dawn (Michelle Trachtenberg) feels equally out of place as the youngest. And Tara (Amber Benson) loves Willow, and Spike (James Marsters) pines for Buffy but every character, by the end of the hour, will reveal a secret or shift an allegiance.
The best singers in the mix are Head, Marsters, Caulfield and Benson; guest star Hinton Battle, from Broadway, plays the demon whose spell has caused everyone in Sunnydale to break into song. (This includes one woman, musically fighting a parking ticket, who's played by "Buffy" co-executive producer Marti Noxon, in a Hitchcockian singing cameo.)
Everyone performs gamely, though. Most numbers are delightful and contain enough surprises that to describe them would be dampening part of the joy.
Whedon, however, is out for more than simple fun.
When he first has Tara singing "I'm caught in your spell" to Willow, it's a lesbian love song. Later, when the reprise arrives, it's a realization of being manipulated magically by a loved one. In another song, "Walk Through the Fire," no fewer than seven different characters are heard from, singing both individually and as one.
Tonight's "Buffy," smart and surprising in so many ways, is no "Cop Rock" and that's a compliment. Oh, and if you're setting your VCR to tape this episode, watch out: It runs 10 minutes longer, so adjust your timer and choose your tape or tape speed accordingly.
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by Unregistered(d) » Wed Mar 27, 2002 2:23 am
edited to add: thanks brian! 
[This message has been edited by april (edited November 06, 2001).]
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by Unregistered(d) » Wed Mar 27, 2002 2:23 am
HERC Reviews BUFFY: THE MUSICAL!!
Buffy 6.7 FAQ
Whats it called?
Once More, With Feeling.
Whos responsible?
Teleplay is credited to series mastermind Joss Whedon (Hush, Who Are You? Restless, Family, The Body, The Gift).
What did Herc say about the 11/6 Buffy in his infamous July 4 spoilers?
Panicky about his impending marriage to Anya, Xander accidentally concocts a truth spell that causes everyone in Sunnydale to reveal all of their innermost thoughts and feelings in song.
When Buffy and Spike learn of their true feelings for each other, they share their first real kiss.
Willow reveals in song that she cast a spell to make Tara forget their fight, and Tara decides to break up with Willow as a result.
Finally, Giles decides to return to England for good.
The episodes original score and lyrics were written by Buffy creator Joss Whedon.
What were Hercs infamous Sept. 29 spoilers for 6.7?
6.7 Untitled Musical Episode. (Nov. 6) Written by Joss Whedon (The Gift). Xander, increasingly panicky about his coming nuptuals, wishes for a happy ending and accidentially sets off a truth spell that forces everyone to reveal their secrets in song. Xander reveals hes nervous about husbandhood. Giles reveals hes leaving for good. Willow reveals she put the forget spell on Tara. And Buffy reveals she has feelings for Spike.
Did Hercs sources get it right?
They were at least a little wobbly on this one. Having said this, an anxious Xander does set off the singing truth spell, Tara does learn of Willows forget-spell and sings of her intent to leave Willow because of it, Giles does sing of his coming departure and, most importantly, Buffy does end the episode by giving Spike a big wet one.
What does Hercs sources get so wrong?
Tara learns of Willows deception from a conversation with Dawn, and not from a singing Willow.
Why doesnt Willow do the forget-spell reveal via song? Song would seem an ideal vehicle for such a major reveal!
Two theories on this. One: Alyson Hannigan, while both insanely attractive and possessed of unparallelled thespianic gifts, may not be the best singer ever. Two: an exhausted Joss Whedon, aware of Hannigans trifling vocalistic shortcomings, may have decided hed written enough songs for one year.
Quick! Subjectively rank the regular cast by their singing ability, from best to worst!
Amber Benson, Anthony Stewart Head, Michelle Trachtenberg (assuming she did her own singing), Emma Caulfield, Sarah Michelle Gellar, James Marsters, Nicholas Brendan, Alyson Hannigan.
What does TV Guide say?
Series creator Joss Whedon wrote, directed and composed the music for this episode in which a mysterious force impels the Scooby Gang to burst into song. Even Buffy devotees may be hard-pressed to find an episode as off-the-wall as this, as Sunnydale denizens become players in production numbers in which cast members do their own vocals. Hear Tara (Amber Benson) sing about her love for Willow (Alyson Hannigan)! See Xander and Anya (Nicholas Brendon, Emma Caulfield) perform a duet! Listen to Buffy (Sarah Michelle Gellar) croon about her lack of life direction! Who's behind the music? Dawn (Michelle Trachtenberg) provides the key.
What is TV Guide not telling us?
TV Guide makes it sound like Dawn causes the trouble, but we learn in the final act its really Xander. (Note please that this is of almost zero importance in the long term.)
The big surprise?
Not only is the episode letterboxed (Angel-style!), it dispenses with the usual title sequence and adapts the Nerf Herder theme into something kinda Muzak-y.
What does the title sequence look like?
Think The Honeymooners. (Luna itself remains a key element.)
Are there agents of nerdly doom about?
Sadly, singing of the Nerds of Doom goes unheard. (And let me just point out again: If the Lone Gunmen were half as entertaining as the Nerds of Doom, theirs would be the biggest show on Fox.)
Okay, the big question: Vampire-boy Joss Whedon wrote all the music and lyrics! Is it too horrible?
Hercs regard for the songwriting ranges from admiring to worshipful!
Wha-at?
You heard Herc!! TV Lad Joss Whedon is not only a genius quipster and dramatist, he now knows how to write really cool songs!! The world no longer makes sense! FEAR HIM!! FEAR THE WHEDON!!
Wait a -- The dude who created Buffy the Vampire Slayer can write songs?
Some songs are better than others, admittedly, but the best ones are amazing! And memorable! I havent been able to get Buffys Walk Through the Fire tune out of my head since I first heard it Sunday night!
What are the songs like?
Theyre all different, but a lot of them reminded Herc of wait for it Neil Young!!
Neil Young???
Im insane! But a lot of them! They are! (For the record, and for all the love Herc feels for Linkin Park and Staind, he considers Neil Young one of the greatest and most versatile songwriters ever to tour this miserable planet. All hail Neil Young.)
How about a breakdown of the tuneage?
Okay, but keep in mind that when it comes to musical theatre, Hercules The Strong is one crappy connoisseur:
ACT ONE
Going Through the Motions. (Buffy, her prey and a rescuee). Think Sound of Music meets Little Mermaid.
I Have A Theory. (Giles, Willow, Xander, Anya, Tara). Think Stephen Sondheim meets Godspell.
Bunnies. (Anya) Think Alanis Morisette meets Alice Cooper.
Scooby Theme (Why Should We Care?). (Buffy and the Scoobs) Think Les Miz meets The Rolling Stones. This is the best song of the evening, and the most repeated.
Im Under Your Spell. (Tara) Think Neil Young crossed with fellow Canadian Sarah McLachlan (Good call, Obsidian72!). Tara expresses the boundless depth of her love of the very lovable Willow Rosenberg. A showstopper, with cool dancing, designed to showcase Amber Bensons wholly astonishing voice. The nights second-best number.
ACT TWO
Ill Never Tell. (Anya and Xander) Think the Beatles A Day in the Life crossed with Hair.
Rest in Peace. (Spike) Think Jesus Christ Superstar crossed with Tommy. Another goosebump-eliciting number, as Spike reveals the torment he endures via his unrequited love for the slayer.
Scooby Theme (Does Anybody Even Notice?). (Dawn) A two-line riff, I think, on the Scooby Theme. I think.
ACT THREE
Sweets Song (Sweet the Demon) Think Cab Calloway meets Damn Yankees.
Standing in the Way. (Giles) Giles contemplates his changing role in Buffys life. Think James Taylor meets Randy Newman.
Im Under Your Spell (Reprise). (Tara) Same song as act one, new verse, new meaning.
Wish I could stay. (Giles and Tara). Think Needle and the Damage Done meets Godspell. An amazing device that combines the shows two best singing voices as Giles and Tara say goodbye to the most important people in their lives.
Scooby Theme (Walk Through the Fire) (Buffy, Spike, Sweet, Giles, Xander, Anya, Willow, Tara). The song of unity unites again.
ACT FOUR
Play a Part. (Buffy) Think The Mamas & The Papas meet Talking Heads. Or something.
Sweets Song (Reprise). (Sweet).
Where Do We Go From Here? (Dawn, Buffy, Spike, Giles, Tara, Willow, Anya, Xander). Its in all the promos; you tell me.
Scooby Theme (Walk Through the Fire) (Reprise) (Buffy, Spike).
Whats great?
Oh Jesus Christ, so much! Xander generally, but especially his brief, hilarious, non-singing homage to Frank T.J. Mackay. Anyas passing reference to the Shumash tribe. The Xander/Anya pajama dance! Spike's casket climbing!! The very entertaining cameos by Team Whedon lieutenants David Fury and Marti Noxon! Spikes turn-on-dime change of heart!! The third-act ending march of the reticent Scoobies!! The way Buffy looks and acts a little like Faith when she finally meets Sweet. The amazing songs! The incredible dancing! The many, many key revelations!!
Whats not so great?
The Dawn rescue has been done! And Giles willingness to abandon his slayer seems born far more of Tony Heads desire to spend more time in England than anything organic to the story. But whatcha gonna do?
Any interesting asides?
I like this episode better every time I watch it.
Any others?
The pre-teaser recap is letterboxed too!
Hercs bold prediction?
Most of the talkbackers will not like this episode as much as he did. At first. But just you wait half a decade
Hercs rating for Buffy the Vampire Slayer 6.7?
*****
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by Unregistered(d) » Wed Mar 27, 2002 2:23 am
quote:
Bunnies. (Anya) Think Alanis Morisette meets Alice Cooper.
I can't wait to see this!
Hopefully Steve will be able to get this episode out to all of us anxiously-waiting to download the ep!
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Willow: And I happen to think mine is the level head, and yours is the one things would roll off of.
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by Unregistered(d) » Wed Mar 27, 2002 2:23 am
Starring Sarah Michelle Gellar, Alyson Hannigan, Nicholas Brendon, James
Marsters and Anthony Stewart Head
Written and directed by Joss Whedon
Original songs, music and lyrics by Joss Whedon
UPN
Premieres Tuesday, Nov. 6, at 8 p.m., with an encore showing Friday, Nov.
16, at 8 p.m. (ET/PT)
------------------------------------------------------------
By Kathie Huddleston
------------------------------------------------------------
Before the season started, it appeared that bringing Buffy (Gellar) back to life in the season premiere would be a snap compared to pulling off Buffy the Musical, as UPN has been billing it. But the brilliant Whedon has
managed to do the impossible by coming up with the best Buffy episode since his Emmy-nominated episode "Hush."
In "Once More with Feeling," Buffy is going through the motions as she patrols the cemetery. Of course, when she bursts into song and the vampires and a demon sing and dance along, she suspects something isn't quite right.
The next day at the Magic Box, everyone admits they found themselves singing uncontrollably as if they were in a musical, with rhyming lyrics and musical backup.
Just as they begin discussing the possibilities, a group song pops out and they sing about their theories as to who might be causing all the singing and dancing. After the musical number is over, they discover that everyone in Sunnydale seems to be affected.
However, what the gang discovers is that they are being forced to sing their most private secrets to each other. They find themselves unable to keeptheir feelings from coming out. Worse yet, people are burning to death from the inside out, and there seems to be some connection. Indeed, there are dark forces at work in the form of a demon (Tony Award-winner Hinton Battle), and it's going to be a hot time in Sunnydale if the Slayer and the Scoobies can't figure out a way to stop him.
That's vampiric entertainment!
Last year, fans wondered how Joss Whedon could possibly top his previous seasons, only to see him come out with his best season yet, as Buffy took on a god. What could he possibly do this year to top that? Based on the episodes so far, it looks like that forces the Scoobies will battle this
season are much more dangerous than any before, as the characters faces challenges within themselves.
In "Once More with Feeling," everything comes to a head in a spectacular episode that's funny, touching and revealing, and all to the tune of catchy song-and-dance numbers. As a group, the cast does a surprisingly good job in the musical department as they sing and dance their own numbers. But holding the glue of the episode together is the fabulous Broadway star Battle as the demon who casts his musical spell over Sunnydale. Battle's demon is one of the best villains the series has come up with yet.
However, what makes this one of the finest Buffy episodes is the script, songs and music, all written by Whedon. Presented in letterbox format, with more than a dozen songs and only about eight minutes of dialogue, the story is moved along by the music. Each song holds a truth for the singer as it explores the depth of their relationships with the other characters. All
that sounds heavy, and some of it is. But "Once More with Feeling" is full of comic moments too, which is what Buffy does best-balance the humor and the drama in a fantastic way.
In the tradition of "Hush," Whedon has created a situation that is completely true and real within the Buffy universe and one that forces the characters to reveal their most private feelings. There's no doubt that the characters will never be the same. They lost their innocence last year when Buffy died. This year they're truly growing up, with all the good and bad things that come with that process. Luckily for us, we get to watch them every step of the way.
Whedon took his first vacation in five years and ended up writing the songs for this episode. While someone probably needs to redefine the word "vacation" for the man, if this is the result of some time off, then Buffy fans everywhere are the richer for it, and he should have nother "vacation" as soon as he can manage it. - Kathie
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by Unregistered(d) » Wed Mar 27, 2002 2:24 am
Highlight:
All the cast members sing and dance their own numbers, some better than others, but all with aplomb. Those familiar with the show knew that Anthony Stewart Head as Giles could sing (he's been on Broadway) but may be surprised to find out that Sarah Michelle Gellar (Buffy) and Amber Benson (Tara) have pretty good voices, and that Emma Caulfield (Anya) not only has good pipes but sweet dance moves as well.
and
standout numbers are Xander (Nicholas Brendon) and Anya (Caulfield) singing about their marriage doubts; a racy, double-entendre-filled number from Tara about her lesbian relationship with Willow; and the rocking confessional from Spike (James Marsters) to Buffy.
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Well, now that came out a lot more lesbian than it sounded in my head.
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by Unregistered(d) » Wed Mar 27, 2002 2:24 am
quote:
Originally posted by imperfectly:
Those familiar with the show knew that Anthony Stewart Head as Giles could sing (he's been on Broadway) but may be surprised to find out that Sarah Michelle Gellar (Buffy) and Amber Benson (Tara) have pretty good voices...
Finally! Someone has something good to say about Sarah's voice, which I love in all the clips I've heard. Leave it to a San Fransiscan to know enough about musicals to realize that not everyone has to have a perfect voice - they just have to emote well and sing basically in key and on time while staying in character.
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by Unregistered(d) » Wed Mar 27, 2002 2:24 am
quote:
a racy, double-entendre-filled number from Tara about her lesbian relationship with Willow.
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by Unregistered(d) » Wed Mar 27, 2002 2:24 am
quote:
Originally posted by tyche:
a racy, double-entendre-filled number from Tara about her lesbian relationship with Willow.
Well, from the caps it looks more like single entendre.
hehe! Yeah at the end Willow seems to have had her tongue very busy while lay down and floated.
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by Unregistered(d) » Wed Mar 27, 2002 2:24 am
4 Stars (our of 4)
By Robert Bianco, USA TODAY
Buffy the Vampire Slayer
UPN, tonight, 8 ET/PT
For the truly talented, big risks can lead to big rewards. You won't find many people in TV more gifted than Buffy the Vampire Slayer creator Joss Whedon. And you won't find many TV risks more audacious than what he has taken on tonight: a Buffy song-and-dance spectacular for which he supplied the music, lyrics, script and direction.
Read more
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Related 'Buffy' scriptwriter turns to music
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The possibilities for embarrassing failure are nearly endless, and yet Whedon has pulled it off brilliantly, with an ingenious, fully integrated hour-plus that makes perfect sense in the universe Buffy occupies. The episode even moves the season-long story forward and does it so well that it's hard to imagine a more effective solution.
The plot device Whedon has chosen is impressively simple: The characters sing and dance because they're under a spell. (As Giles says, "That would explain the huge backing orchestra I couldn't see and the synchronized dancing.") And they sing a lot so often, in fact, the show will run about eight minutes over, in case you're setting your VCR.
But the numbers are more than a diverting stunt. Whedon has taken the old structural rule for placing songs in book musicals that when emotions become too intense to be expressed by words, they burst forth in music and given it literal life. Each song, sung in character by the actors themselves, reveals some secret or feeling the singer has been trying to keep hidden.
Of course, the secrets don't spill out all at once. As often happens on Buffy, the show starts with a funny fantasy idea and digs deeper to reveal the psychological underpinnings beneath our myths and fairy tales. In the end, this isn't a happy musical and yet I can't think of a TV hour this year that has brought me any more pleasure.
Whedon's melodies are not always as strong as his lyrics, but the songs are unfailingly clever and surprisingly varied. The highlights include a Disney-style opening number for Buffy (Sarah Michelle Gellar), a lovely ballad for Tara (Amber Benson) and a funny Sondheimish patter song for Xander and Anya (Nicholas Brendon and Emma Caulfield) who complains that "clearly our number is a retro pastiche. It's never going to be a breakaway pop hit."
With the exception of Anthony Stewart Head, the cast members aren't exactly singers, but they do well enough in this context. Whedon is smart enough to give the biggest numbers to the stronger voices and to give Spike the evening's moral: "Life's not a song. Life isn't bliss. Life is just this: It's living."
All told, Whedon's achievement is so impressive that it may even serve as a much-needed wake-up call for Emmys. Trust me: If this episode doesn't garner Whedon a nomination, it's going to reflect more poorly on the voters' judgment than on his efforts and it's going to make the Emmys look even more hidebound and out of it than they do today.
Haven't we heard that song enough?
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by Unregistered(d) » Wed Mar 27, 2002 2:25 am
"Buffy the Vampire Slayer": It's not that I expect kids to go singing and dancing in the street after watching tonight's musical episode. I don't even expect that they'll go out and rent "Hair," which appears to have inspired this unique hour. But creator Joss Whedon may do more in one night for teens' appreciation of musicals than Andrew Lloyd Webber has done in his career. The plot is absolutely silly -- a demon forces the whole town to express themselves in song -- but the results are magical, with numbers reminiscent of Fred Astaire-Ginger Rogers movies (no, I'm not kidding). Most of the cast can barely carry a note, although some are excellent dancers, and they all exhibit Andy Hardy-type enthusiasm. The real stars here are the songs, written by Whedon, which exhibit the kind of wit that used to emanate from Tin Pan Alley. **** out of four stars
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by Unregistered(d) » Wed Mar 27, 2002 2:25 am
Tuesday, November 6, 2001
Advance Review: The 'Buffy' Musical
By Brian Ford Sullivan
Let me come out and say it before anyone else has the chance to: "Once More, With Feeling" will go down as one of the, if not the best episodes of "Buffy the Vampire Slayer" so far. And the part that may surprise you is that the reasons why the episode is so enjoyable go way beyond its singing and dancing. Joss Whedon has brought us "gimmick" episodes before (a dialogue-less "Hush" jumps to mind) but in this case the episode's "gimmick" helps knock down all the dominos that writing staff has intricately set up over the past 18 months. And once the first big bomb is dropped, they keep on coming all the way to the closing seconds that will have you screaming for next week's episode.
The show starts innocently enough with some dialogue free minutes as Buffy (Sarah Michelle Gellar, proving she has some singing pipes) all of a sudden bursts into song on one of her patrols. Joined in by fellow vampires, demons and a kidnapped prince (you'll just have to see for yourself) it's really exactly what you'd expect when Joss Whedon says he's going to write an all-musical episode - great off the cuff remarks, clever character moments and solid characterization except, you know, in singing and dancing form.
When she reports back to the gang they each admit that last night they had the same kind of occurance. As they start to research into what is causing it, they burst into song and dance again making the singing and dancing
something they try and fight but all of a sudden become powerless to. But as is the case of things in the Buffyverse, the singing and dancing comes with a price - they sing and dance about their deepest thoughts. And in the recent "everybody has a secret" sub plot this season (Dawn has developed kleptomania, Willow has used her magic to make girlfriend Tara forget,
Xander and Anya have doubts about their upcoming nuptials, Giles worries about his inability to mentor Buffy anymore, Spike has feelings far deeper than he lets on for Buffy and Buffy herself has hidden the fact she was in heaven before being brought back to life) you can only imagine what comes out of their mouths when it's their turn to sing. Granted, Anya works in a solo about "killing all the bunnies" but you get what I mean.
As a whole the episode reminds us really how amazing this show is. Certainly other series have done these type of "gimmicks" before - the short-lived "Space: Above & Beyond" did a dialogue free episode long before "Buffy" did and "Xena: Warrior Princess" had its own musical episode before it finished its run - but like all things "Buffy" there's just a feeling and substance to it that is unique in itself. Furthermore you really have to be stunned that after six years it doesn't feel like the show is losing any steam - you can sense a passion and commitment to this show by the actors, producers, writers and directors unlike any other on television
right now.
And if you think 60 minutes of "Buffy" isn't good enough, make sure you set your VCRs to run a few minutes longer (eight to be exact) as the final "big" number is showstopping in every sense of the word. UPN will trim down
the broadcast for future airings (like its encore presentation Friday, November 16) so this is your only chance to see the episode in its entiretly. While it's easy to guess what number(s) will be trimmed, nevertheless this is one of those episodes that is a special gift to those who've followed it all these years. (Plus, I'm not sure if this will be the case during the broadcast, but the screening tape was in "widescreen" - the
first time "Buffy" has been seen in the format.)
Oh and did I mention I can't usually can't stand musicals?
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by Unregistered(d) » Wed Mar 27, 2002 2:25 am
by Unregistered(d) » Wed Mar 27, 2002 2:25 am
http://www.syfyportal.com/article/?id=393
Once More Buffy stands out
Going Through the Motions
Sunnydale falls under the influence of a magic that makes people break out in song, revealing their innermost thoughts and feelings. This causes trouble for the Scoobs: Anya and Xander sing about anxiety over their future marriage; love turns to mistrust for Tara after finding that Willow used magic to make her forget their fight; Giles pontificates about leaving Buffy, so she can grow up more; and Spike reveals his love for the Slayer.
Meanwhile, the source of all the music -- a demon who can fill people with too much song and dance, causing them to burst into flame -- believes Dawn summoned him and threatens to take her to the underworld to be his queen.
The episode ends with the Scoobs still singing -- and Buffy and Spike kissing.
Give Me Something to Sing About
I thought I had seen everything original I was ever going to see on TV. Episodes of thritysomething with the scenes presented in reverse order. The oddity of characters, plot and dialogue that was Twin Peaks. Episodes as newscasts like those done on M*A*S*H and Babylon 5.
Then I saw the opening to this weeks Buffy installment, Once More, With Feeling The Slayer fighting, dancing and singing with graveyard vampires in a sequence very reminiscent of West Side Story.
But before we get to the actual episode, some credit to the network. UPN allowed Joss Whedon, who wrote the script and all the songs for the episode as well as directed, extra time to present his vision for this event. Its a small risk for the network, which pushed the rest of its programming back 10 minutes for the remainder of the evening. But dont expect to see this version ever again, outside of a DVD set. Future repeats will be edited down to a normal hour show.
Now, where to begin
This was absolutely one of the best episodes of TV I have seen in a very long time. The story flowed seemlessly, the direction was inspired and the performances were solid.
Most of this was evident from the opening scene with the number Going Through the Motions. The song, combined with choreography that played off the lyrics, created a hilarious battle scene that set up the plot and tone of the episode. (It also included what could be the first ever vampire-death reveal shot in a musical.)
Other songs of note include Anya and Xanders Ill Never Tell, a throwback to the musicals of the 30s and 40s and Giles Standing in the Way, a rumination about leaving Buffy so she can grow up more.
The episode favored the talents of those with a lot of song and dance training, which left out some of the cast (most notably Alyson Hannigan.) But vocally, Amber Benson rose above the rest with a voice like an angel. Also worth mentioning were Emma Caulfield and Anthony Stewart Head.
In the dance department, Caulfield again stood out, but the best performance was Michelle Trachtenberg in a sequence with the puppet minions of the demon.
The most important aspect that this episode had was maybe something most people didnt realize. It truly was a musical. Whedon could have easily written a script and thrown songs into it for fun and frivolity. But in true musicals, every song advances the plot in some way and Whedon held true to the form. Every piece pushed forward motivations and set up conflicts. He even used some of the conventions of the musical song. Most notably was Taras Im Under Your Spell, which was sung twice, having a different meaning each time.
Im not going to compare this Buffy episode to Rodgers and Hammerstein or Weber and Rice, but for television, this is something special, something that should be celebrated.
Does Anybody Ever Notice?
* David Fury and Marti Noxon, Buffy writers extraordinaire, in their respective singing roles as The Mustard Man and Woman Getting a Ticket.
* The multiple references to musicals including a straightforward nod to Pinocchio and Spikes line mentioning 76 bloody trombones, alluding to The Music Man.
* Letterbox format, which helped capture the look and feel of the musical. Events like this are rarely produced for TV and more a throwback to motion pictures of which the format reminds us.
* The mutant on the Mutant Enemy logo at the end of the show singing its Ur Argh this week.
Where Do We Go From Here?
Giles is leaving, Tara gives an ultimatum about Willows magic use and unspeakable relationships are explored. But I suggest going back and watching this episode over and over again, if you were fortunate enough to tape it.
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What's your thoughts on the episode? Tell us here!
Don Smith is a television reviewer for SyFy Portal. He lives in Tampa, Fla.
[This message has been edited by Halcyon (edited November 07, 2001).]
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by Unregistered(d) » Wed Mar 27, 2002 2:25 am
(edited because I can't type for crap)
[This message has been edited by Corporeal Dennis (edited November 07, 2001).]
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by Unregistered(d) » Wed Mar 27, 2002 2:26 am
by Unregistered(d) » Wed Mar 27, 2002 2:26 am
"There was joy and lightness in "Once More with Feeling," particularly the sequence where Tara (Amber Benson) and Willow (Alyson Hannigan), the show's Wiccan lesbian lovers, cavort in an almost insanely sunny park, twirling about in medieval-looking frocks. Tara sings of her love for Willow, particularly her amazement that anyone could open her so completely to the beauty of the world; the scene ends in the couple's bedroom, with Tara gently levitating inches above the bed as Willow hovers somewhere just below the frame, one of the best metaphors for the bliss of oral sex I've seen on any screen, small or large."
i couldn't agree more.
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by Unregistered(d) » Wed Mar 27, 2002 2:26 am
by Unregistered(d) » Wed Mar 27, 2002 2:26 am
Buffy Rocks
For those of you who think I talk a little too much about "Buffy," skip ahead to the next section. For the rest of you -- Oh My Glory! How phenomenal was that episode? It made me wish the Scoobies sang every week. I can't even pick a favorite moment (although Spike's "Let Me Rest in Peace" is currently running through my head). We'll have the chance to sing along often once the soundtrack is released (yes, that's really happening).
I know another reporter who talked to Joss Whedon last May and Whedon swore that a Buffy/Spike romance would never happen. Major kudos go out to Whedon for so creatively deceiving his fans (much better to surprise us that way) and for making this romance seem so probable (which is a lot more than I can say about the prospective Angel/Cordy romance, but that's a topic for next week). Sure it would be nice for Buffy to find a boyfriend with a beating heart, but Spike, in all his glorious devotion, understands the Slayer better than her friends or even Buffy, herself. I'm thinking he'll give her something to sing about.
What I'm wondering is why Willow didn't reveal anything in song? Was it because Alyson Hannigan can't sing (and that didn't really stop Nicholas Brendon, did it?) or because Willow is so magic-happy that she doesn't even realize how far gone she is? The episode also confirmed my personal theory that this season's big bad may be Buffy herself. Will her despair make Buffy her own worst enemy? Just a thought
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by Unregistered(d) » Wed Mar 27, 2002 2:26 am
Interesting Highlights:
Wheres Willow in all this? Shes the only one who doesnt solo. Did she concoct an anti-singing spell? Perhaps Joss wasnt comfortable with Alysons singing skills. Maybe Alyson refused to sing. Or, maybe this is another reason why Willow is the #1 candidate for the office of BIG BAD.
Willow smiles as Tara serenades her and she grimaces in horror when Buffy shares her secret. But beyond a few facial expressions and that behind-the-scenes booty, Willows silent. Which is actually very uncharacteristic for a person who used to la-la-la her way through life.
"Once More, With Feeling" showed us what additional skills the BtVS actors list on their resumes. Veteran viewers knew about Anthony Stewart Heads soft, folky voice. There was no doubt hed dominate much of the singing. But who knew Amber Benson could reach such glorious high notes or that Emma Caulfield could shake her groove thing? Both SMG and Michelle Trachtenberg dance like pros. Nick wears his silk pajamas well, and manages to keep in tune. They were all very brave to depart from the normal fare.
There are many, many more elements to discuss, such as: the opening and closing credits; Tara and Willows erotic moment of ecstasy; the magnificent Sunnydale street scenes; plus, which song will be the breakaway pop hit; and, of course, the infamous curtain-closing kiss. I could continue singing their praises, but Ive really exceeded my allotted word count this time.
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Well, now that came out a lot more lesbian than it sounded in my head.
[This message has been edited by imperfectly (edited November 07, 2001).]
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by Unregistered(d) » Wed Mar 27, 2002 2:27 am
-source :zap2it.com
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by Unregistered(d) » Wed Mar 27, 2002 2:27 am
oh, I'm so bad...but as Oscar said, we are all in the gutter but some of us are looking at the stars
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by Unregistered(d) » Wed Mar 27, 2002 2:27 am
The highlights:
Stand-outs are Amber Benson, who sings like an angel on her Disney-esque (well, minus the delightfully naughty parts) love ballad, "Under Your Spell."
Willow's shocked face at Buffy's revelation shows us that she hasn't given in completely to darkness. And the rally-the-troops save by the Scoobs is appropriately rousing.
The only thing that's notably missing is a song from poor Willow, who seems to be focal this season, but mostly just burbles, "I think this line's mostly filler." (Hee!) Understandable, since Alyson Hannigan's vocal abilities seem somewhat limited, but such a thing is conspicuous in its absence.
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Well, now that came out a lot more lesbian than it sounded in my head.
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by Unregistered(d) » Wed Mar 27, 2002 2:27 am
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"Believe me I don't want to go,
And it'll grieve me 'cause I love you so
But we both know..."
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by Unregistered(d) » Wed Mar 27, 2002 2:27 am
Review: Buffy's best episode ever
By STEPHANIE McGRATH -- AllPop
Buffy The Vampire Slayer, Season 6, Episode 6
Buffy's a show/A show that rocks my world/She is the coolest girl/And this I think you know/
Best. Episode. EVER x infinity.
Dear AllPop readers: I'd like to announce my retirement from AllPop.com. Tonight I leave for L.A. where I will spend my days stalking Joss Whedon and asking him: "Can I please be on your show? No? Okay, how about now? No? Okay ... maybe in five minutes? No? Okay ... how about now then?"
Why would I do that, you ask? Simply because this week's musical episode of "Buffy", titled "Once More, With Feeling", was absolutely amazing. OMG, I am forever spoiled because no episode will ever be able to match the greatness that was the musical episode.
So in addition to having unbelievably hilarious and touching musical numbers, the show also moved the plot forward -- secrets were said ("gasp!"), hearts were broken ("oh no!"), and lips were FINALLY locked ("Halle-freakin'lujah").
Okay, breathe. Now hold on, my dear friends, this could get lengthy.
The show kicks off with a big-band style version of the "Buffy" theme song. The camera pans onto the Summers residence while cheery, Disney-style music plays.
Cute shot of Willow getting ready, Dawn waiting for the bathroom, and Buffy slapping her alarm and then ... it's time for our first song.
Buffy is in Sunnydale's trusty graveyard, slaying demons and vampires with a completely bored expression on her face. It looks like she's just doing her job without thinking about it, she gets no rush from it anymore. Quelle surprise! Her first big number is "Going Through The Motions".
So Buffy slays vampire, yawns, stakes another demon who sings:
"She's not even half the girl ... owwwww" (and it's very funny).
The song ends with a "Disney's Little Mermaid" crescendo and a close-up of Buffy's face in front of the night sky as she croons: "I just want to be/aliiiiiiiiive".
[Note: This is kind of the theme of the episode. Buffy needs to snap out of her post-heaven blues and go on living. She needs to get back in touch with her emotions ... you know ... through song.]
The next morning, old Buffster bursts into the Magic Box where she finds her pals sitting around, no demon to hunt, no vampires to plot against. Xander is busy mock-fighting with two doughnuts:
"Respect the crueller, and tame the doughnut," he says. (Oh that Xander, always with the jokes).
"Hey, did anybody, you know, burst into song last night?," Buffy asks.
"Merciful Zeus," exclaims Xander.
Turns out all of the Scoobies were busy crooning the night before. But none of them are too eager to discuss the song subjects. (Pssst: they're singing their most intimate thoughts, get it?)
The group decides to research it before it happens again but, ooops, here we go:
"I've got a theory/it might be demons/A dancing demon/No, that's not quite right," sings Giles (who, by the way, fancies himself a bit of a Bowie/Mick Jagger/flamboyant Broadway star during the show).
"It's getting eerie/What's this cheery singing all about," they all sing (Psst again: Okay, Willow is just bad. Thank goodness Joss recognizes this and keeps her in the background for most of the show).
Now for what could possibly be the funniest moment ever:
"I've got a theory it might be bunnies," howls Anya before going all rock 'n' roll on us, and then she starts wailing about bunnies and how they're not that cute and "What's with all the carrots anyway/What do they need such good eyesight for anyway?"
Then, she notices that the rest of the Scoobies find her song absolutely weird so she sings: "or midgets" and, oh dear, can't. Stop. Laughing.
So, when the song ends, Buffy wonders to herself if they're the only ones singing. She opens the door to find a "Westside Story"-type dance going on in the street and some guy singing about how the dry cleaners got the mustard out of his shirt.
Meanwhile, Tara and Willow have been making eyes at one another. They say they're going home to do "research", and scamper off into the sun.
[Note: During the Magic Box scene, Dawn is shown swiping a necklace from the store.]
The two of them wander through the park, and Tara starts her romantic ballad "I'm under your spell", and there's even a little ballet. The song then gets a touch racy as she and Willow find themselves back in their bedroom. Hmmmm. (Remember, last week Willow cast a spell on Tara to make her forget they had fought about Willow using too much power? That comes into play later.)
But not all is well in dancing land. In the first spooky shot of the episode, a man is shown tap-dancing to his death. He dances so fast, he spontaneously combusts. That's trouble right there.
Next up is one of the best performances of the night. Anya and Xander wake up together and then perform an MGM, Ginger & Fred-style number about the secrets they're never going to tell one another, but then they do. (Xander snores, Anya wheezes, they're both nervous about getting married and "Xander's penis got diseases from some tribe").
Later that day, the two catch up with Giles and beg him to stop the singing madness. (Much hilarity ensues in the background as a woman sings about her parking ticket and window-washers do a choreographed broom dance.)
It seems as though both Xander and Anya are a bit disturbed by the singing and the secrets they're revealing through song.
Buffy makes her way to Spike's , and when he learns she's just there to pump him for information ("What else would I want to pump you for? I really just said that, didn't I?," Buffy responds hilariously), he gets angry. Now it's time for another one of the best songs of the night.
"Rest In Peace" is Spike's angry rock number about how it hurts him to be around Buffy because she doesn't love him. He runs around the graveyard singing and the two of them eventually end up in a freshly dug grave together. They almost kiss but, oh no, Buffy runs away at the last minute.
Back at Buffy's house, Dawn tells Tara she's glad Willow and Tara aren't fighting anymore. Tara looks shocked and runs off to the Magic Box.
Dawn starts to go through her treasure chest of shoplifted items and puts on the necklace she stole from the Magic Box.
"Does anybody even notice?/Does anybody even care?," she sings. [She's not bad but is obviously uncomfortable singing.] But before Dawn can begin singing again she's kidnapped by some truly scary looking puppet-type demons.
What ensues is a truly classy ballet number that features Dawn doing a stylized trying-to-escape dance with the puppet-demons. It's fantastic.
Then we're introduced to the demon that's been causing all the havoc and chaos and such. He makes his grand entrance with a fancy tap-dance and a theme song. It's very good, but he's not a regular so I don't really care about him.
It turns out that someone summoned the demon, he thinks Dawn did it, and he's going to take her down to hell to be his queen. The musical spell means that people will continue to reveal their secrets and bare their emotions through song until it all gets to be too much for them and they simply dance to their death.
When the demon learns that Dawn's sister is the slayer, he decides he'd like to see Buffy dance until she burns before he takes Dawn to be his queen.
"What I mean/I'm fifteen/So this queen thing isn't legal," Dawn sings/argues.
Back at the Magic Box, Buffy is training and says she knows Giles will figure out the singing problem. As Buffy trains, Giles sings "Wish I", which explains that he wishes he could stay and slay Buffy's demons for her and act as her father figure but that he has to go in order for Buffy to move forward and begin looking after herself and growing up.
Tara eventually joins in Giles' song. She realizes that Willow has been messing with her memory. Both Tara and Giles sing about how they don't want to leave the ones they love but they know they have to. (Oh no! Tara and Willow look like their heading for splitsville.)
At the end of the song, one of the puppet demons bursts into the shop and tells all the Scoobies that Dawn is kidnapped.
"Dawn needs rescuing," quips Buffy. "Must be Tuesday."
Buffy expects her pals to go with her to help, but Giles tells her it's something she needs to do on her own. Sadness.
Our heroine wonders through the dark streets.
"When I touch the fire it freezes me," she sings sadly and then a large-scale, major musical number (think "Les Miserables") is born in the song "Walk Through The Fire".
Buffy is sad, she tells us in song. She feels nothing, she can't get her fire back. She doesn't want to be this way anymore. She's miserable and alone. She misses heaven.
Then, back at the Magic Box, Giles realizes he's made a mistake and that they should all go and help Buffy, so the entire cast joins in "Walk Through The Fire".
Willow's one line? "I think my lines are mostly filler" (hee hee hee).
Spike is sulking in a corner. He's hurt.
"I hope she fries/I'm free if that b**** dies/I wonder if she needs help," he sings before running off to try to help Buffy too.
Buffy kicks open the door to the demon's home and finds Dawn and the demon waiting for her. The demon is very happy.
Now it's time for Buffy's really big number.
"Life's a show/And we all play our parts/And when the music starts/We open up our hearts," she sings. The Scoobies arrive in time to help her, and Tara and Anya start dancing to Buffy's song. Buffy goes on to say/sing that all the things that should make her happy -- friends, family -- aren't helping her.
The demon gives Buffy a look. It's time for her to reveal her really big secret. It's going to be so big she won't be able to deal and will dance to death.
Her song morphs into: "Give me something to sing about," which is all about how nothing makes her happy, how life has no meaning for her because ... (yep, she's going to say it, they're all going to find out,) her friends pulled her out of heaven and now she's in hell.
Willow looks like she's going to throw up. Giles looks shocked, and Xander looks upset.
Then Buffy starts to dance hysterically and smoke starts rising from her body. Oh no! She's going to burn up!
But it's Spike who saves her. He grabs her and sings: "Life isn't bliss/Life is just this/Living/You have to go on living/So one of us is living".
He seems to snap Buffy out of her dancing trance.
The demon prepares to go and take Dawn with him but Xander reveals the fact that he was the one who summoned the demon (by accident), not Dawn. The demon decides to wave the clause about taking the person who summoned him to be his queen.
Willow-is-turning-evil alert: Willow tells him to leave, and the demon looks right at her and says "Hmmm, I smell power".
So the demon sings a little goodbye song, but he's not one of the Scoobies so who cares about that.
Once he leaves, the group looks stunned and shell-shocked.
"Where do we go from here?," Dawn sings.
Then the rest join in for the grand finale.
"Understand/We'll go hand in hand/But we walk alone in fear/Tell me/Where do we go from here?"
The cast starts doing synchronized dance moves but Spike shakes it off, yells: "Bugger this" and leaves the finale.
Buffy races outside to follow him. He turns on her, he's angry and heartbroken (or would be if he wasn't a vampire).
Now, time for the ABSOLUTELY BEST MOMENT OF THE WHOLE SHOW. To all those "Buffy" fans who've been waiting anxiously for Buffy and Spike to get together, here's your moment.
"This isn't real/But I just want to feel," sings Buffy and then she and Spike throw themselves into a major-motion-picture-style lip-lock.
THE END.
Overall: This episode was so much fun. The song and dance numbers were great but weren't just a gimmick to grab ratings. They actually contributed to the overall "Buffy" story. Now Tara knows for sure that Willow is using too much magic, Willow knows her spell did a terrible thing by pulling Buffy out of heaven, and Anya and Xander have acknowledged that they're nervous about the wedding while Giles thinks it's time for him to leave Buffy and, best of all, Buffy might be snapping out of her heaven-induced coma and besides, she got together with Spike! Hooray!! This episode deserves a million stakes out of five.
"So Joss, about that part on "Buffy"... oh, okay not now then. How about now? No? Maybe tomorrow? .... Please?".
And from Cinescape:
TV Episode Review
BUFFY THE VAMPIRE SLAYER Once More With Feeling
Joss Whedon directs another excellent episode thats music to the ears of BUFFY fans and beyond
Dateline: Tuesday, November 6, 2001
By: CARL CORTEZ
By: Correspondent
Whenever BUFFY THE VAMPIRE SLAYER comes up with a show that seems gimmicky in nature, it always seems to overcome the initial hokiness of it with a great payoff.
Creator Joss Whedon has always been at the forefront of those episodes. In Hush he did an entire hour without the use of any dialogue, in Restless dreams played a big role as the episode went from one weird non-sequitur to another, and in last years The Body Buffy dealt with the death her mom in a largely surreal scenario that played out with very little background music.
Now comes the biggest leap of faith BUFFY THE MUSICAL. Titled Once More with Feeling, this is definitely the most ambitious and outrageous idea for a BUFFY episode yet. With previews hinting at rock opera via PHANTOM OF THE PARADISE or ROCKY HORROR PICTURE SHOW, the result could have been disastrous.
To the contrary though the episode is just about the best thing youll find on television. Going beyond ambitious, Whedon took it upon himself to not only write and direct the episode, he also penned all the songs that are used to convey the feelings all the characters have been experiencing most of the season, but havent had the nerve to express.
Its exhilarating and Whedon wastes no time jumping into it as Buffy begins the episode with a song lamenting her lack of focus and interest in slaying vamps and demons. Its a really funny moment which leads to the whole Scooby gang realizing there must be a demon afoot forcing them to engage in these big musical numbers and theyve got to stop him before they break into song again.
But they do again and again and again.
The songs are quite catchy, with a love ode sung by Tara to Willow being one of the standouts. Amber Benson has a beautiful voice and of the females, her and Emma Caulfield (Anya) have the strongest range. Buffy tends to be a bit on the soft side, but the fact that her singing isnt perfection only adds to its infectious quality.
Its hard to cite the best dance number, though as of this moment Im leaning toward an old-fashioned romp between Xander and Anya called Ill Never Tell. Theyre questioning their own loyalty and love in something that wouldnt have been out-of-place in a musical of the 40s. They dance around Xanders apartment in their undergarments and the energy level is phenomenal with Caulfield busting some pretty amazing moves.
Also getting ample treatment is the continually evolving love-hate relationship Spike has with Buffy. He still loves her, but lately hasnt been as obsessive, realizing his affections will never be reciprocated.
As the true source of these strange musical numbers is revealed its a demon named Sweet (Hinton Battle), who has a predilection for a catchy number and watching people dance themselves into a frenzy so that they spontaneously combust we end up with the most revealing and honest moment of the entire episode when the whole cast sings the grand finale Where Do We Go From Here.
As with most of Buffys significant turning point episodes, events that happen here open up a whole new can of worms with some major (and quite surprising) revelations coming to the fore. It will ensure that the seasons largely uneven plot points are now going to take on more significance and finally start to show some signs of a payoff.
The attention being drawn to this BUFFY episode is important, since it will also once again show new viewers just how special and unique the series can be. Its always wildly surprising, but the resurrection of Buffy episode that introduced a whole new audience on UPN was so caught up in resolving previous plot issues that it might have been a little inside for the casual viewer. Albeit, the musical episode does require some previous knowledge of the BUFFY-verse and whats been going on this season, but youll still get drawn into the shows musical magic regardless.
This is what television wants to be but rarely takes the chance at achieving. Its a gimmick with a point and one that lingers with you days after seeing it. In an era of disposable TV where the only show that ever gets repeat viewing that actually enhances its appeal is THE SIMPSONS, its nice to know BUFFY in its sixth season still has a lot of life left in it.
Fans will rejoice, new fans will be won over and this time the Emmys cant ignore the series after Once More with Feeling. Stand this up to anything else out there, and its obvious nothing can compare. This may a genre show, but its one that has a beat and now you can dance to it too.
[This message has been edited by tyche (edited November 08, 2001).]
[This message has been edited by tyche (edited November 08, 2001).]
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