Angel S3-01: The Short Review

'Heartthrob'

Written and Directed by David Greenwalt

"If you were a loser, if you were a sick obsessed vampire, you'd go to a snod demon or whatever and get your heart cut out. But you're not. You're a living, breathing - well a living, anyway - good guy who's still fighting and trying to help people. That's not betraying her, that's honoring her." - Cordelia.

The third season premiere has been perhaps one of the most anticipated episodes of Angel to date. It had to be good; it had to deal credibly with Angel's response to Buffy's death, and it had to establish the show in its new US timeslot. As a fulfilment of those aims, 'Heartthrob' is an intriguing episode; it succeeds, but not quite in the manner I expected.

Despite the high number of fight scenes, compared to previous season premieres, the episode is actually quite slow moving and introspective, with the emphasis firmly on character introduction and interaction. There is a lot of (fairly clumsy) continuity explanation and - I suspect - a fair amount of thematic set-up for things to come (I wouldn't be surprised if "I lived - you just existed" is a launching point for story developments affecting Angel's interaction with the world).

For many viewers - myself not included, however - the most important thing that this episode had to deal with was Angel's grief over Buffy's death. I thought this was handled nigh on perfectly. An outpouring of grief would be out of character for Our Hero; recall his response after Doyle died: to keep his feelings to himself. What we see here is an extension of that, reflecting a greater loss. He does eventually open up to Cordelia (after several attempts on her part), and admits that he feels guilty that, unlike James, his world continues to turn on its normal axis. Indeed, the point of James was that, along with Holtz, he illustrated the maturity of Angel's emotional response. A couple of years ago, Angel would have been James; self-destructive, suicidal. Now, however, with Cordelia's help, Angel recognises another way - to move on, and honour Buffy's memory.

Special mention must go to the flashbacks in this episode; they were, I felt, superb. It looked and felt like an 18th century town, and not like a studio sound stage. James and Elizabeth (although, let's face it, she should have been called Juliet, despite the fact that the pair don't really resemble Spike and Dru) are mostly interesting for the ways in which they reflect the Angelus/Darla and Angel/Buffy relationships; but Holtz is a character to remember. The actor has presence, and radiates an air of dangerously competent menace. More, please!

In addition, no review of this episode would be complete without a mention of the final twist: Darla's pregnancy. No, I don't know how it could happen either, but that doesn't matter; clearly, she is pregnant, so it can happen. As a plot development, I have to say that I think it is inspired. At a stroke it solves one major problem - how to credibly have Angel not stake Darla. Indeed, I can imagine a scenario in which Angel is stopped in the act by Wesley reminding him that that child (or children?) might have a soul. It also sets up further plot developments - even if the father isn't Angel, for instance, it now seems inevitable that the A-team will find out that Angel slept with Darla, and that he later lied about it to Cordelia. The pregnancy even acts as a convincing retcon, for those who need it, explaining Darla's absence in the latter stages of S2.

Throughout the episode, however, there are memorable scenes. Fred and Angel in her hotel-room-cave. Cordelia and Dennis. Wesley, Gunn and Merl at Caritas. Angel and Cordelia at the end. Each character is used convincingly, although perhaps inevitably the focus is on Angel and, to a lesser extent, Cordelia. And apart from anything else, it's simply a pleasure to watch these characters interact as friends.

If I'm honest, my first impression of 'Heartthrob' was muted; but I haven't stopped thinking about it since I watched it, and I keep finding more and more that I like. Yes, the fight scenes are alternately jerky and blocky; yes, there is an awful lot of clumsy expositionary dialogue for the benefit of new viewers. However, the central story is strong, if simple, and the treatment of the theme - love and grief - is very good indeed. 'Heartthrob' is a grower, and certainly one of David Greenwalt's stronger episodes.