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Best Petrie Episode?

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  • Best Petrie Episode?

    So Douglas Petrie is one of my favourite writers on Buffy. I love his commentaries and interviews. I think he's hilarious and insightfull and I was just wondering who else agreed with me. Beyond that, what is your favourite Petrie episode. I have a hunch at what Eps going to win, but we'll poll you just to see.
    "Bad Girls"
    "The Initiative"
    "This Year's Girl"
    "The Yoko Factor"
    "No Place Like Home"
    "Fool For Love"
    "The Weight of the World"
    "As You Were"
    "Two to Go"
    "Beneath You"
    "Bring On The Night"
    "Get it Done"
    "End of Days"
    "You're the one Buffy"

  • #2
    "Fool for Love" -- my favourite Spike/Buffy episode ever. I almost can't believe Petrie was the one to write it, considering his unspectacular later episodes ("As You Were", "Beneath You" minus the church scene).

    (set made by Francy for me)


    • #3
      I like a lot of his Spuffy episodes, even if it means them breaking up or what have you. The plot was going to happen that way whether he wrote it or not.

      "Fool for Love" is just a beautiful episode. It's so well written and so well plotted I just love that episode.

      I really like how much he loved Faith. Notice a lot of his episodes not only had Faith in them but had a major showdown or moment with Faith being involved. I definitely think he lobbies for Faith episodes and he writes them really well.
      "You're the one Buffy"


      • #4
        I of course voted for my favorite episode of all time "Enemies"! I still don't really understand why I love the ep as much as I do but I think it's mainly because you finally get to see Faith completely go against the Scoobies and in front of their face. I love how Faith can just destroy everything in her path and not even realise it (ie. Bangel taking a break). Plus the entire Buffy, Faith and Angelus scene:

        Faith: Do you think you're better than me? Do you? Say it, you think you're better than me!
        Buffy: I am. Always have been.
        Faith: Um... in case you didn't notice Angels with me.
        Buffy: And how'd you get him Faith? Magic? Did you cast some sort of spell? Because in the real world, Angel would never touch you and we both know it.
        *Faith smacks Buffy*
        Buffy: You had to tie me up to beat me! There's a word for people like you Faith, Loser!

        Sorry I get a little carried away when it comes to this episode. I could've written out this entire part in the mansion but I'm sure we've all seen the episode so you already know what I'm talking about. Buffy calling Faith a loser is just so damn good. You have to admit it. So yeah definitely Enemies.
        T _A _T _E _R _S'____ W _O _R _L _D

        Proud recipient of the "Vagenis Award of Excellence"


        • #5
          Oh, wow, a lot of great episodes. It was a toss up between 'Enemies' & 'Checkpoint', but I finally settled on the latter. I just love Buffy's speech in that ep...she takes back her leadership and refuses to let Quentin & the Council attempt to get in her way anymore. I just adore this ep!
          It's blood...It's just like mine.
          It doesn't matter where you came from or how you got here.

          You are my sister.


          • #6
            I was thinking of doing another poll with Petrie episodes, maybe Fury and Espenson ones. I picked just one Checkpoint (although I also love FoolFL, NPLH, Initiative, This YearsGirl, Bad Girls, Two to Go, Get it Done, and End of Days) he rocks. Checkpoint has a lot that I like, it's one of those eps where Buffy gets knocked down but then gets up again.

            "Oo-our relationship?"
            "We're friends"
            "Good friends"
            "Actually we're girl friends"
            "Yes we're lovers"
            "Yes. We're lesbian, gay type lovers"
            "I meant your relationship with the slayer"

            I also love how he writes Buffy when she's patrolling or the scoobies, it's classic Buffy.


            • #7
              I picked two: The Yoko Factor and End of Days. Fool for Love is also great but I didn't want to crazy and vote for everything! I chose The Yoko Factor cause it was too fun to watch Spike mess with the Scoobies. And I chose End of Days for three scenes I adore! The Andrew/Anya scenes where first they are drinking and cleaning up wounds and the second one when they are getting medical supplies. Love them together! They are hilarious. And, of course, I think the Buffy/Spike scene is excellent as well.
              follow daydreaming on twitter / livejournal / tumblr / facebook for instant site updates!


              • #8
                Oh god, 'Fool for Love' no contest!!

                Apart from the fact it benefited from being able to share part of it's budget with having a 'crossover' set made (the boxer backdrop) and thus really being able to make that whole scene look luxurious, the story itself was such a killer!

                Seeing a completely different side to Spike's character, and meeting William for the first time. God, that was such an amazing moment.

                Seeing the 'fanged four' together is always a treat in itself, and so the scenes in the mine were a joy. "All fists and fangs'.

                And oh lord, and there was 'Punk Spike'....need I say more.



                • #9
                  Can we pick two? Oops! I only went for one. Anyway, Checkpoint and Fool for love are my favourites from that list. A lot of the others don't really do it for me (End of Days? Not even sure what happened in that one so can't have made much of an impression!).

                  Checkpoint has so many funny moments, and is a significant point in Buffy's development?for me it's pivotal to the meaning of the show as a whole. BtVS, for me, is about finding new ways of doing things ? whether from a writerly perspective, or for the characters. It's a mould-breaker, and this ep shows Buffy overturning the cart and saying sod you to The Man. Or Men. And women who are lackeys of The Man. It reminds me of the end of Labyrinth actually?it's got a fairytale quality.

                  Through dangers untold and hardships unnumbered, I have fought my way here to the castle beyond the Goblin City to take back the child that you have stolen. For my will is as strong as yours, and my kingdom is as great... You have no power over me.

                  David Bowie, Quentin Travers?peas in a pod. Impotent peas

                  Agree with Sueworld that the Spike/William the Poet revelation was pure genius. The onion gets peeled to reveal a layer that's a completely different colour. And punk Spike looking up through the years is a really nice touch ? where he's talking to Buffy but taking off the dead slayer's coat.

                  Quite like Weight of the World and As you Were, plus This year's Girl (though prefer Who are you).

                  -- Robofrakkinawesome BANNER BY FRANCY --


                  • #10
                    For me it is Enemies, hands down. The moment I realized that *I* had also been tricked, right along side Faith, I became a huge DP fan. Great, great writer.
                    The way he explained it all with three little words..."Worlds second best". Great moment and one of my all time favorites.

                    Whosoever Shall Call Upon the Name of the Lord Shall Be Saved!


                    • #11
                      I picked three!

                      I picked Enemies, Checkpoint, and This Years Girl.

                      About Enemies, two words: Second Best. When I heard those words, I went balistic! Loved it!

                      And the speech at the end of Checkpoint was fabulous!

                      And, Petrie writes the best Faith, so This Years Girl is a must!

                      Sorry for small thoughts


                      • #12
                        Had to go with Fool for Love-but I really like a bunch of his.

                        I do think he wrote Spike and Spuffy well-even the break up. (Buffy calling him William was a nice heart breaking touch-like I'm going to dump you, but also finally acknowledge the man inside at the same time.)

                        Beneath you seems to be getting a lot of slack-but I've always thought that Spike at least was well written in that one. I will say the weird hand touching flashback thing didn't work since Buffy had already touched him in an earlier episode. It was just a little too late. But otherwise it was fine. And the last scene in the church with crazy Spike and Buffy finally realizing the truth was beautiful.

                        Checkpoint is a nice solid example of Buffy-in fact it is a great example episode. It works by itself and touches on the shows major themes. Nice Buffy dialog and funny Anya stuff. Also I love the watcher that wrote the paper on Spike-very funny.

                        Get it done is a kind of tricky episode-things that needed to happen for future storylines get handled-but with mixed feelings. Buffy definitely comes off bitchy. There is some issue with pushing Willow to do magic after making all the addiction parallels. It sort of seems like now they're saying it is ok to do drugs if you have a good reason. And of course there's the whole duster thing, which will probably always remain controversial. It works ok for me-Spike is a persona that William acquired and the duster symbolizes that persona, thus putting it back on meant he was ready to fight like Spike. There were probably other ways to accomplish this though and I'm not entirely convinced there was a need. Did it really seem as though Spike was suddenly not fighting hard enough? I don't think we had any reason to doubt his ability to hold his own post-soul. I suspect it was more a costume preference.

                        Flooded-again a great Spuffy scene-out on the porch.

                        But FFL is one of my all time favorites. The cut from Spike saying "What can I tell you, baby? I've always been bad." to William babbling to himself and telling the waiter that he is the "very spirit of vexation" kills me every single time I watch. I love all the Spike history here and also the general vamp/slayer mythology we get filled in on. DP does a really great job because the audience is both horrified and oddly happy for Spike when he kills that first slayer. His enthusiasm was just contagious. Of course the final scene when we get the real twist is the best, it comes out of nowhere and Spike trying awkwardly to comfort Buffy is one of the best scenes of the series.
                        "All I ask is that... that you try to see me."


                        • #13
                          Enemies , No Place Like Home , The Weight Of The World

                          Enemies, because it's a unique episode. It's really different from the others. While watching it for the first time without knowing what will happen, you may feel shocked, concered etc. Further more, it has a great ending.

                          No Place Like Home, because its an important episode. It's also the beginning of the rush and mystery of season5, that's why I like it.

                          The Weight Of The World, because Buffy's thoughts, feelings and dissapointments are shown here. There's rush, there's fear. Not knowing what to do. And a very important item, darkness.


                          • #14
                            Originally posted by kanga View Post
                            I was thinking of doing another poll with Petrie episodes, maybe Fury and Espenson ones.
                            I agree, I was thinking about that too.

                            I love that everyone's jumping on the Petrie wagon. I just love what he writes.

                            I absolutely love Bad Girls and Enemies as well as This Year's Girl. He writes Faith-centric eps so well. He really gets into her and let's you understand her while you want to hit her. It's amazing.

                            I love his Buffy power scenes too. The Faith vs. Buffy in Enemies, the 'want take have' in Bad Girls and I love her big speech at the end of Checkpoint that is such a great episode, I love love love it so much.
                            "You're the one Buffy"


                            • #15
                              And the last scene in the church with crazy Spike and Buffy finally realizing the truth was beautiful.
                              The aired version of that scene wasn't written by Petrie, though, it was written (and directed) by Joss.

                              (set made by Francy for me)


                              • #16
                                "No Place Like Home" is one of the most underrated episodes out there. Not only does it rely predominantly on the Scooby dynamic, with great moments between any combination of the four main characters, it has the priceless, timeless, exquisite moment of Buffy staring down Giles in his wizard outfit.

                                Couple that with a brilliant and tense sequence of Buffy's spell/trance and the reveal that Dawn is not "right" -- I would love to have seen this episode in order, because it would have been great to experience the tension of wondering if Dawn is the Big Bad, and Michelle's performs is so subtle through that scene.

                                And, Glory just one-sidedly kicking Buffy's butt was unprecedented on that scale. We've seen her lose when she's off her game, we've seen her batted aside in a short scene like "Goodbye, Iowa". But Glory is the first time we've seen Buffy, in her power, just get completely manhandled and thrown around like a rag doll, and it completely redefined the scale of what Buffy would be fighting.

                                Petrie rules.

                                Also, kudos to Petrie for the "Spike vs. God" aspect of "Beneath You" that was retained through Joss' revisions. It's nice to get the impression that Spike doesn't define the experience of getting his soul entirely in terms of what it means for Buffy.
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                                • #17
                                  Originally posted by Enisy View Post
                                  The aired version of that scene wasn't written by Petrie, though, it was written (and directed) by Joss.
                                  Yes, here's the original version. Reading it I can well see why Joss re-wrote it and re-shot, and in fact re-lite that scene. This first draft seems less 'efficient' compared to what we finally ended up with.

                                  INT. CHURCH - NIGHT

                                  Twin heavy doors swing slowly open and Buffy enters the church. She hears the sound of sobbing.

                                  She walks in, cautiously, drawing a stake.

                                  Buffy's P.O.V.: We see a figure, its back to us, sitting in one of the pews, rocking gently back and forth.

                                  Buffy approaches. It is Spike, sitting alone, looking as lost and frightened as he can. He speaks softly and sanely.

                                  I figured it out. Took awhile, yeah,
                                  but ... I think the real problem
                                  is ...

                                  He looks to Buffy, eyes wide, vulnerable,

                                  SPIKE (cont'd)
                                  I was once this really nice guy.

                                  Buffy remains cautious, keeping her distance.

                                  So that's the problem.

                                  I think.

                                  Got news, Spike. You're not that

                                  Spike laughs, quietly, enjoying the irony of a good joke.

                                  Yeah. I've been ... well come on,
                                  Let's face it, been a one-man
                                  slaughterhouse, last hundred years.
                                  Raping. Murdering. And for what?

                                  He stands in the pew, bows his head in reverence.

                                  SPIKE (cont'd)
                                  William the Bloody awful poet,
                                  skipping down the lane ... good boy,
                                  bad boy, all the sodding same.
                                  You like it? Wrote that one myself.

                                  He rolls his head around slowly, up to the ceiling, staring.

                                  SPIKE (cont'd)
                                  Is it hot enough in here to burn all
                                  your mortal sins away?

                                  And suddenly, vampire-fast, he stands straight up.

                                  SPIKE (cont'd)
                                  Or am I just crazy?

                                  He laughs, steps from the pew, into the aisle.

                                  SPIKE (cont'd)
                                  Stuffy. Stuffed. Full, packed,
                                  sorry mate, no room, out you go,
                                  we're packed to the bloody brim,
                                  standing room only and no room for
                                  that. We. Are. Full.

                                  Buffy steps back, giving him a wide berth. Spike lurches forward, up the church aisle, zig-zagging left and right, but always moving forward.

                                  SPIKE (cont'd)
                                  Full of sin. Full of guilt. Full of
                                  hate and love and loss and feeling.
                                  Full of it, quite frankly and it's
                                  been so long.
                                  Since we felt anything here. Rusty
                                  switchboard, sparked to life, bound
                                  to be more'n a few sharp shocks.

                                  Buffy slowly following behind, never losing grip on that stake, and watching ...

                                  SPIKE (cont'd)
                                  Right? RIGHT?!? Shh. Quiet.
                                  Church. His house. Place of clasped
                                  hands, reverent hymns, and massive
                                  raw amounts of BEGGING. On your
                                  knees, boy. Beg him. BEG HIM ...

                                  And we see where Spike is heading: at the head of the altar, there stands a large, carved-stone CRUCIFIX.

                                  SPIKE (cont'd)
                                  ... for forgiveness.

                                  Spike ...

                                  Buffy. I can't sleep. Can't think.
                                  There's voices and darkness and
                                  blindness and pain and help me, I

                                  He keeps walking, slowly, up the aisle. Gets to the altar's steps and keeps going ... straight to the cross.

                                  You have a soul.

                                  Spike stops at the cross. Responds without looking back.

                                  I do indeed.

                                  He wearily lets his head rest upon the stone crucifix. And STEAM rises from where his flesh makes contact. He grimaces, but does not scream.

                                  SPIKE (cont'd)
                                  And it's killing me.

                                  He reaches out and HUGS the crucifix with both arms. Steam rises from his palms.

                                  SPIKE (cont'd)
                                  God ...

                                  He releases the cross, slowly pulling back and turning to Buffy

                                  SPIKE (cont'd)
                                  God hates me. You hate me. I hate
                                  myself more than ever.

                                  Buffy wants to step forward but does not.

                                  But why'd you do it ...?

                                  You know why. I got my soul back ...

                                  He keeps turning, now facing Buffy, barely able to stand on his feet, wobbling a bit - and holding his arms out wide.

                                  SPIKE (cont'd)
                                  ... So I could be the kind of ...
                                  ... Person ... you could care for,
                                  the man you would come to ... the man
                                  you could love.

                                  Spike GRINS through bloody teeth. The burn marks stand out fresh upon his forehead and palms. He looks like death, and any second he's going to collapse.

                                  And still, it's like something terribly sad is actually, deep down funny - and only he gets the joke.

                                  He walks toward Buffy. Staggering gently. Eyeing the stake she still holds in her hand. He's drawn to it - and to her.

                                  SPIKE (cont'd)
                                  I was the enemy, then I was nothing,
                                  and now I'm God's garbage, not even
                                  a joke, less than, less than, less
                                  than all His creatures combined so
                                  tell me, dear Buffy ...

                                  Buffy lets him approach, unmoving, but not letting go of that stake, either.

                                  He barely makes it to her - and SLAMS straight down, to his KNEES. And opens his arms wide.

                                  SPIKE (cont'd)
                                  How ya like me now?

                                  Buffy's mind goes a long way trying to come up with the answer, but her mouth cannot speak and we:

                                  BLACK OUT.

                                  END OF SHOW

                                  Last edited by sueworld; 08-10-07, 11:03 PM.


                                  • #18
                                    Since Joss' was the only version we saw performed, it's really not far to declare that one would be better than the other on screen. There's some fine writing in there. In fact, there doesn't seem to be a clearly inferable reason for the re-write other than to minimize Spike's soul as an existential crisis and just make it about him and Buffy. Where I've always thought the strongest moment of the scene as performed was Spike asking Buffy "it's what you wanted, right?" and then staring up and repeating "it's what *you* wanted, right?"
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                                    • #19
                                      Yeah, I go with that, although I love the earlier part where Spike's seen in almost total darkness saying "I dreampt about killing you", and we as a viewer can't see his face, so we share Buffys unease about whether Spike really means what he's saying and somehow intends to attack her.

                                      Also "Can we rest now, Buffy, can we rest?" comes across far more elegantly then how it's written in that script,(although it does 'flag up' that Joss intends to kill him off that season!). But as you say, we never saw that footage. Joss was only privy to that.


                                      • #20
                                        I wish they'd release dailies of Petrie's version, actually, not because I have a fondness for the script (in fact, I find it vastly inferior to Joss's version), but because James keeps talking about how he had to "dredge up everything" and "beat himself up with it". I suspect he had already abandoned the Method by the time they got around to reshooting the scene.

                                        (set made by Francy for me)