Angel S3-21: The Short Review

'Benediction'

Written and Directed by Tim Minear

"Your destiny lies with Angel, I know that now. You will have a better life with him. I am comforted by that certainty, and in the knowledge that, with him, you will discover your true purpose and come to know who it is you are meant to be. My only prayer is that I have prepared you well enough for whatever lies ahead. I trust I have" - Holtz' letter.

Tim Minear has a reputation for being the best character writer on Angel, and in 'Benediction' he once again demonstrates why. The episode deals primarily with one simple story - the relationship between Connor, Holtz and Angel - and does so superbly, but it never forgets the rest of the cast. There are standout scenes for Wesley, Justine and (of all people) the Groosalugg ("..if she asks"). The powerful ending merely cements the episode's greatness. If the guy has to leave, at least we can say that he went out at the top of his game.

In many ways, 'Benediction' does for Holtz what 'Darla' did for its eponymous lead. It makes him human, and it also paints him as something of a tragic figure. Holtz is without a doubt my favourite of the antagonists to have appeared on Angel, and he's probably the most complex; his motivations are a mixture of love, hate, justice and revenge. I truly believe him when he tells Justine that he grew to love Connor, and I his final act is as much about love and desperation as it is about vengeance. Holtz does know, somewhere, that Connor is meant to be with Angel, and that he will eventually realise this. Holtz doesn't want to face it, however; he wants Connor to remain Steven, forever. At the same time, he's disappointed that all his planning has left Angel bereaved for only days - if that's vengeance, it's a weakened form that doesn't interest him. Out of these twin motivations and also, I feel, out of habit, out of the idea that he literally can't see any other way to complete his life, is born a plan: Frame Angel for his death. This is tragedy on an almost Shakespearian level, and it makes for compelling viewing. Holtz' letter to Steven is probably the single finest speech Tim Minear has written since 'Epiphany', imbued as it is with double-meanings.

The other set-piece of the episode is the nightclub scene, in which I thought the characters were extremely well choreographed. It's a sign of how far Wesley has fallen that when Lilah asked whether he'd go to warn Justine or go straight to his car, I didn't know which he'd do. I believed in the possibility that he'd walk away - and it's why I believe in the possibility that he'll join Wolfram and Hart. Not to get revenge, or for his own advancement, but because he's confused, and because he is close to just not caring anymore. Of course, all that may change now that he knows Connor is back; interestingly, Holtz seemed to respect Wesley, so if he told Connor anything about the man, it was probably something good. If Connor and Wesley ever meet, I could see them teaming up. That would surely be painful for Angel - and I suspect it would make exciting viewing for us, as well; indeed, Boreanaz and Kartheiser have such a natural father-son dynamic that any scene involving the two of them is highly watchable.

(It occurs to me that having the Powers send Cordelia a vision of Justine in distress is an interesting twist; it suggests conspiracy theories, such as - the Powers wanted Justine alive...but Justine being alive led directly to the end of this episode. Holtz couldn't have framed Angel without her help).

Although perhaps not as strong thematically as some of Tim Minear's other episodes, the characters are nonetheless linked by the concepts of influence and manipulation, and how people use (or abuse) them. They key, I think, is in the early conversation between Groo and Lorne about things that are meant to be, and whether or not they can be force. Obviously, this is primarily intended to contrast Angel and Holtz' different approaches to dealing with Connor, as well as to reference the Cordy/Groo relationship, but in varying degrees it's also true for the interaction between Wesley and Lilah, and Justine's approach to the returned Holtz. I think it also speaks to the current divide between Wesley and the rest of Angel investigations; it's noticeable that when Cordelia says "he'll come back. He has to. He's family" with reference to Connor, this is juxtaposed with a shot of Wesley eating his dinner, alone.

As for Cordy's reactivated demon power, well, it was a nice literalisation of the healing power of love, but it needs more explaining, and it needs a price. I don't doubt that there will be one - she doesn't seem to have control over when it becomes activated, for instance, so what would happen if she inadvertently cleansed Angel? I'm hoping we'll get more on this next week. Indeed, I can't see a lot else waiting to be resolved; by virtue of trying up Holtz' story, 'Benediction' has a strong feeling of resolution about it, and it's really not clear where the story will go from here. Sure, Connor will want revenge on Angel, but that's not a plot, it's a fight scene. And unless they play the Wesley/Connor angle, I can't see Wesley getting re-involved with AI this season, so how are they going to tie up his story for the summer?

'Benediction' is an excellent episode - a fitting swan-song for Holtz, and possibly the best lead-in for a season finale since 'Becoming, part I' - but it's far from clear where things will go from here. It feels at the same time as though there are too many loose ends to deal with in one episode, and too few to fill an episode. That's not necessarily a bad thing; I like to be surprised, and if Greenwalt can deliver an episode even nearly as good as this one, I'll be more than happy.