The Watcher Diaries - Spiral - Buffy Episode 5.20
Posted by Jason Chamberlain on 03.17.2010
Buffy and friends go on the run from Glory, but the hell goddess isn't alone in seeking the Key!
5.20 Spiral
Writer: Steven S. DeKnight
Director: James A. Contner
Slayer Speak
Glory: Any last words? Buffy: Just one. Truck.
Spike: Buckle up, kids. Daddy's putting the hammer down!
Watcher’s Notes
This is only the second time Buffy has used a sword.
Jeremy Thomas has the full review!
Last week's episode "Tough Love" ended on a big moment, when Glory finally finds out that Dawn is the Key. This week we pick up right at that same spot. Buffy takes off with Dawn, and a little magic from Willow gives them a head start toward getting away from the fashion-conscious hell goddess. They're going to need a lot more than that to make it into the clear though, and that's what "Spiral" is all about. It's a classic chase-type scenario, with the heroes in a rush to keep one step ahead of the villain. And like some of the best stories of this nature, the result is not exactly a smashing success…at least, as far as our heroes are concerned.
In many of Buffy's seasons, there is a moment where things are at their darkest. There's a fleeting glimpse of hope, and Buffy and her loyal gang of Scoobies are racing with their utmost skill and determination to find it…and then, the light of hope goes out. "Spiral" is that episode. Buffy has realized here that Glory can't be fought and that they have only one option. That option is to run. Despite Giles's attempts to be optimistic and some spirited and amusing brainstorming—Anya's suggestion of dropping a piano on her is as funny as Giles's sarcastic retort—the Scoobies know that they're completely outmatched and they have only one option left: get away. This is one of the only times that the Slayer and company actually ran from a threat rather than confront it. That goes a long, long way toward selling just how bad-ass Glory really is. A mayor attaining Ascension? Angelus ending the world? The Master opening the Hellmouth? All dealable. But Glory is someone they have to run from. Gods are like that, I suppose.
But at least if they're running, they're doing it in style. Buffy drafts Spike into service, and he brings along a foil-covered Winnebago. Giles and Xander are livid at this turn of events because of Spike's pursuit of Buffy, but she is adamant that he is coming because they need someone who can protect Dawn from Glory besides just here. This is another example of how scared Buffy is; she may have given him some respect for refusing to give Dawn up in "Intervention," but it would be a long shot to say she trusts him. But she does need him, and for that and to protect her sister Buffy's willing to set her own comfort level aside. All bets are off now.
As it turns out, conscripting Spike is a wise move because not only do they have Glory hunting them down, they have the Knights of Byzantium. The Knight who Glory fed on reveals to his rescuing brethren the identity of the Key and that brings the full resources of the Knights down upon the Scoobies. And thus, they get to fight arrow and sword-wielding Knights with…well, pretty much whatever they have. This is probably one of the more complex fight sequences the show had, at least until "The Gift" a few episodes later. You had Buffy on the top of the Winnebago, fighting off Knights like a train sequence out of the classic Westerns while they enemies did everything they could to bring the vehicle down. Everything seems manageable until Giles gets a spear chucked through him and the transport crashes. That forces them to hole up in a nearby abandoned gas station. The episode becomes a siege story at this point with the Scoobies holed up inside. While Willow throws up a barrier spell and the general of the Knights is captured, things are far from rosy. Giles is grievously injured, they're still surrounded and the barrier won't hold. But they do learn that Glory has a weakness in being housed inside a human man. How lucky for them that they're able to bring in Ben to help Giles then, right?
This is a classic episode. So much of the episode, written by Steven DeKnight and directed by James Contner, hearkens back to classic cinema. You have the chase scene, which is set along a dusty and desolate road which amplifies the Western theme. The siege film brings to mind not only those Westerns, but many other well-known siege films. Night of the Living Dead is one example; we even have the beginnings of dissention between the ranks here that echo what happens in that movie.
A few minor flaws of continuity don't drag this down, because there are a lot of great moments amidst the action. Spike is showing himself slowly to care about more than just Buffy and her sister. When Tara opens the window and burns him, she freaks out at his reaction and Willow apologizes; he responds by saying that it's all right and tries to make Tara feel better. Buffy and Dawn's moments are nicely done as well. And of course, the final moments where Glory breaks out, grabs Dawn, slaughters the Knights and escapes, sends Buffy into a catatonic state. All is far from well here in the Buffyverse, but it comes across so well.
Ronny Sarnecky
Things have just gotten interesting. In “Tough Love,” Glory discovered that Dawn was the “key” to end the show. With three episodes remaining, the time for taking things slowly is now out the window. What made “Spiral” a must-see episode is that it answered many of the questions surrounding Glory and why the “key” is so important. One of the things that I liked about this episode is that you have the “Scooby Gang,” who wants to defeat Glory. You have the Knights of Byzantium, who also want Glory destroyed. Instead of working together on a common goal they each take different methods to get the job done. The “Scoobies” protect the “key,” and look for a way to defeat her. The Knights want to destroy the “key,” thus destroying Glory that way. Both sides are working to save the world. However, the Knights will take any means necessary, even killing the innocent. It’s an amazing dynamic to see how each group goes about trying to defeat Glory.
One of the more interesting things in this episode was that Buffy ran, instead of facing Glory. It’s the first time she really has doubts about being able to defeat the “God.” This point was brought home even further at the end of the episode when Glory captured Dawn. Instead of running after Glory, Buffy coward down with tears in her eyes as the show closed. I can’t wait until Buffy gets her fire back. Only two episodes left.
8.5
Jason Chamberlain
For me, season five continues to under whelm as it winds down, and a lot of that has to do with the focus on characters I don’t like. Glory, Tara, Dawn... man, I miss The Mayor, Oz, Faith, and no Dawn. No Dawn was great.
We also get more of the Knights in this episode, and seriously, Knights? Who thought that one up? Where did these guys even come from? I just look at the Knights and it seems like they’re hardly crucial to the plot, like they could be completely erased and the season would be better for it, and not much would change either.
I do like Spike’s involvement in this one, and this is one of the episodes where I start siding with him over the Scooby Gang. Giles and Xander in particular are needlessly harsh to him I thought, though at least the X-Man makes up for it later by lighting Spike’s smoke for him. That was cool.
7
Ron Martin
This episode does as much as any for the face value of Glory. By this time in most seasons, Buffy has a handle on what's going on. She is fighting Faith and has a plan for the Mayor, or she's figured out a way to stop ADAM, or she's recruited Spike to help her defeat Angelus. Not since the Master have we seen Buffy actually scared. She has no clue how to take on Glory.
Again, like in the last few episodes we are treated to putting our favorite characters in a situation and watching them all react in ways that their characters should. This always makes for good TV. The over wrought "Spike is a hero" storyline is in full gear here, which gets a little sickening, but shacking up at the abandoned gas station and the fighting on the RV (car chases are not normal in Buffy) more than make up for it. Everyone has their place, and like any good story, it looks hopeless for our heroes just before the end.
Excellent, if not perfect episode.
8.5
GRR!!! ARGH!!!
The 411: This isn't a perfect episode but it's close to it, and it's highly-recommended for fans of the Buffyverse. The nods to some cinematic styles we don't often see on Buffy are highly appreciated and the character-building moments have a chance to shine through. We're close to the end now and things have just about gotten their darkest; it's time to enjoy the ride through the finale from here.
But at least if they're running, they're doing it in style. Buffy drafts Spike into service, and he brings along a foil-covered Winnebago. Giles and Xander are livid at this turn of events because of Spike's pursuit of Buffy, but she is adamant that he is coming because they need someone who can protect Dawn from Glory besides just here. This is another example of how scared Buffy is; she may have given him some respect for refusing to give Dawn up in "Intervention," but it would be a long shot to say she trusts him. But she does need him, and for that and to protect her sister Buffy's willing to set her own comfort level aside. All bets are off now. 
This is a classic episode. So much of the episode, written by Steven DeKnight and directed by James Contner, hearkens back to classic cinema. You have the chase scene, which is set along a dusty and desolate road which amplifies the Western theme. The siege film brings to mind not only those Westerns, but many other well-known siege films. Night of the Living Dead is one example; we even have the beginnings of dissention between the ranks here that echo what happens in that movie. 
