I saw it as being like "The Zeppo" -- the narrator(s) are unrelliable, so the characterization is tilted.

This would be my primary rationalization, which would completely take care of the Buffy objectification (and Andrew's repudiation thereof). As for ita's objection, I just thought the flashbacks were from one of the narrator's unreliable points of view. Clarifying whether it was one or the other, I do admit, would have helped immensely. Because I can totally see Spike as remembering Angelus the way he acted in that episode. Since it was from him that we got the lovely "Ciao!" moment, I'll go with it. But, admitedly, show not called SPIKE.

Oh, and if it's best ME show overall? I have to go with FIREFLY.

But it's not fair given it barely got a tenth of the airtime that ANGEL did. I certainly think it was the strongest ME show out of the box. Whether that would have lasted is a question we'll never know the answer to (unless the movie is HUGE).

I certainly think it was the strongest ME show out of the box.

It definitely has the highest batting average of any ME show. But that seems (in part) because they felt the axe hovering and tried to shove all their best stories in as quickly as they could.

Eh. I'd say the Surprise-to-Becoming arc and the AYNOHYEB-to-Reunion arc were better, but if we compare seasons or show runs as a whole you may be right. Every full season of Buffy and Angel had a handful of clunkers, but Firefly only had time for "The Train Job" and "Safe" to air.

It definitely has the highest batting average of any ME show. But that seems (in part) because they felt the axe hovering and tried to shove all their best stories in as quickly as they could.

Considering the unfilmed ep I read the script of (it was pretty readily available), I'd say some of the ones they decided against were still pretty friggin' good.

but Firefly only had time for "The Train Job" and "Safe" to air

Hmm. I'll make LARGE allowances for "The Rush Job", and rather liked "Safe" quite a bit.

Admittedly the quality lapse is understandable. But I'm talking about what made it to the screen, not why.

Realization I had after watching BtVS 3.1 tonight:

Stylistically, thematically and cinemagraphically, "Anne" was the prototype for "AtS."

Discuss.

Can we make Wesley wear the waitress outfit?

Stylistically, thematically and cinemagraphically, "Anne" was the prototype for "AtS."

Oh yes. I'm too tired to do much more than a brief post about it now, but I'll rewatch "Anne" and compare w/ AtS eps and then write up a big long essay or something sometime. At least one of the shots from Angel's opening credits is from "Anne", and they both take the Buffyverse away from high school and the Hellmouth and out into a bigger world filled w/ suffering caused by both supernatural and natural forces.

Of course, "Anne" also really begins the journey of the character of Anne from powerless to powerful; it is fitting that it is she who sums up one of the central ideas of AtS in NFA, that of going on and doing what is right even though everything may be out of your control and the fight may be hopeless and things may never change.