The Mirror Cracked: "Dopplegangers" on BtVS (1/?): Xander, mostly

[red_satin_doll]

mcjulie challenged me to write a meta about dopplegangers on BtVS in the convo thread of her wonderful meta "Where Did I Go? A Farewell to the Buffybot".  The jist of her meta is that the Buffybot represents the "I'm Fine" mask that Buffy puts on to cover her grief and depression, starting with her mother's death in mid S5, and continuing through S6. (She also pointed out to me that Buffy is the only character on the show who gets two dopplegangers: the Buffybot and The First.)



First things first: a doppleganger ("double walker") is simply an exact "double or look-alike" of any person.  The double cannot be explained away by an optical illusion or reflection in the mirror, they are not an identical twin, and generally seems to have a physical presence and is glimpsed by the person themselves or someone who knows them. In other words, not a double seen only in a dream or hallucination, but seeming to have a real physical presence. (Mark Twain's The Prince and the Pauper is a relatively well-known literary example.)  In old folklore, the sight of a doppleganger was taken as a sign of imminent death or misfortune to the person so copied. Nowadays, the use of a doppleganger can be comic, tragic; they can be an antagonist or a means of self-awareness.

On BtVS, the dopplegangers that the Scoobies encounter serve a bit of all of these functions, but most specifically they represent the efforts of Buffy, Willow and Xander to grapple with personal identity, with selfhood, and especially with the difficult transition from childhood to adulthood.  In each case the dopplegangers serve slightly different functions. Willow's transformation into her own shadow self, into the darker, wilder self  (her rage, her sexuality, her desire for power and control) that she tried in early season to hide and deny - from Vamp Willow to Dark Willow - is well known enough that I hardly need mention it; instead I'll link to  norwie2010's meta "Giles and the Wild Woman";  and local_max has posted some superb in-depth analysis of Willow's personality here and here, as well as a look at how the finales of S2 and S6 mirror one another in terms of Willow, Xander, and Buffy's arcs.  

Interestingly enough, Willow has only one doppleganger: Vamp Willow.  VW becomes a doppleganger when she enters the world of the "real" Sunnydale in "Dopplegangerland".  Whereas her counterpart, Vamp Xander (NB in an unfairly underrated performance), is not technically considered a doppleganger because he never is similarly transported to the other side, merely an AU version of Xander, a "what if?" variation. Xander's literal doppleganger is the second self he sees in The Replacement: he has been split by the ray from a Toth demon and divided into two halves, the goofy, nerdish class clown familiar from the early seasons, and a successful, confident adult who dresses well, earns a promotion, and signs a lease on the mortgage: in other words, the more mature or "adult" side of Xander.

But there's a complication here: if a doppleganger is a double glimpsed by the person or someone who knows them, and if from a Doylian standpoint, the viewers function as residents of Sunnydale and friends to the Scoobies, even though as spectators rather than participants; or, going a bit further, the various characters represent "us" through our identification with them and so we as audience members are actually "in" the story as participants, then for us the AU versions of the characters are also "dopplegangers", even if the Scoobies themselves are not aware of them. And so Xander can be said to have two dopplegangers: Vamp Xander and Mature Xander ( or MX; I'll call him that for convenience sake).

VX, like VW, obviously represents Xander's darker sides at that point in the series.  As a fannish aside, NB is wonderful in The Wish: dark, sexy, dangerous; the scene in which VX and VW kill Cordelia together and VX cups his mate's head in his hand, as the camera circles around them is one of the most chilling AND erotic moments in the series. (Yeah, I said it.)  He never makes the transition to the "real" Sunnydale, and Xander never becomes aware of his existence.  But it isn't necessary on a story level because I think that Xander's less pleasant traits are much closer to the surface than are Willow's, and in fact they are not even hidden: sexual urges, slut-shaming (first Cordelia, later Anya and Buffy), jealousy (initially of Angel, later Spike), lying (Xander's lie in Becoming contributes to the trauma of S2's finale for Buffy and is not addressed until S7, Selfless), having an "affair" (if it can be called that) with Willow behind his best male friend's (Oz) back, and so forth.  

This is not to bash the character, and I don't mean to be overly-hard on him, because these qualities are interlaced with his loyalty, humor, courage, supportiveness, friendship, generosity and kindness. He is, in other words, a real and complex character and it's the combination that makes him so. And in some ways, the fact that these qualities are not particularly hidden may be healthier in the long run than Willow's attempts to quash her shadow selves, which ends up backfiring spectacularly and tragically in S6.  

The Self that Xander has a difficult time coming to terms with is his literal doppleganger, Mature Xander. Since S4 in particular, Xander has been experiencing a crisis of confidence, trying to find his way in the world.  After Graduation Day (S3) Xander, like many young people who had no particular focus or plans, has been set adrift after high school.  While Buffy and Willow seem safely occupied with college, Xander struggles to find a job, to remain part of Buffy and Willow's world; in addition, he grapples with his new relationship with Anya, and to define himself in relation to his parents, to extricate himself from their house and the abusive, dysfunctional family dynamic. (Portrayed vividly in his nightmares in "Restless".)

 But as with Willow's transformation into Dark Willow, a crisis arise when he tries to become MX.  Throughout S5 and S6 he goes through the motions of being a proper, functioning, mature adult, doing all that proper, functioning, mature adults are "supposed" to do in our society: the job, the girlfriend etc.  To that end he proposes to Anya at the end of S5, in part because the world is going to end, in part because he genuinely loves her (I saw nothing on the show to suggest his love wasn't genuine).  He has obviously been thinking about it - the proposal seems spur of the moment but he has a ring in his pocket to present her with, so it's something he's been thinking about - even if only for an hour beforehand.  

But there's another motivation I think, and that is, he is proposing to her because that is what one does, that is what a man does.  The apartment, the job, a marriage: they all fall together in our society's vision like dominos, one naturally following the other.  And certainly he wants to be the man, the husband, that his father never was. He is also acting from "the heart" rather than from the brain. (Remember, in "Primeval" Xander was the "Heart" in the spell to call the First Slayer.) He loves Anya, the world might end, therefore it seems right to propose.  But acting from the heart without the brain can lead to rash decision-making; once the threat of imminent doom is over, he acts again from the heart - in this case, through fear - rather than logic or reason, and rather Anya to reveal the engagement. Later in Hell's Bell's he again acts from fear, observing the demon's visions and his father's behavior and leaves Anya at the altar; then in S7 he runs to rescue her ("Selfless") but throughout the season is unable to articulate his feelings, to fully reunite or release her.

I don't know that he can be fully faulted even though  I don't condone his actions on many occasions and it's unpleasant to watch.  All the more so because some of the key moments in his arc feel somewhat "shoved" into the narrative, especially in Hell's Bells; this I consider a failure of the writers to craft his arc as carefully, or with as much attention, as they did to Buffy and Willow's (whatever the flaws of their arcs might be.)  Within the story, however, Xander has no strong male father figure or role model to look up to.  This is a major theme within BtVS: the lack of caring, nuturing parental figures, and the absence of functional, healthy relationships that would provide models to the Scoobies.  They have to grapple their way to adulthood surrounded by adults who are, on some level or another, abusive, neglectful, dysfunctional, etc.

In Xander's case, his father is abusive (verbally at the very least; and we can see where Xander gets his slut-shaming tendencies from in Hell's Bells); Giles never fully warms to Xander, and never seems to really particularly like him; and Angel and Spike are both rivals for Buffy's time and affection. The only males Xander really connects to are Oz, who is the most laid-back, non-threatening male on the show - except for those three days a month; and Riley.

Riley is almost a "special case" in that, as a soldier, he is on some level Xander's alter ego - remember that Xander transforms into a soldier in S2's "Halloween" - and while he is also Buffy's lover, Xander doesn't seem to regard him as a rival in quite the same way, probably because he isn't a vampire.  No, Riley is human, a sort of "improved" Xander, and if Xander identifies with him (as well as likes him) the way viewers identify with favored characters, then it makes sense that Xander pushes Buffy towards Riley in ITW.  (And I have no wish to get into in-depth discussions of that episode for obvious reasons, ie, I go all ragey and stabby at the thought of it.  Enough said.) And he may perceive Riley as being "more together" than he himself is, although the events of S5 prove otherwise.

So Xander has no males to really connect to, or that he is able to connect to, especially ones older than himself who could "show him the way" to manhood.  One of the unfortunate aspects of this is that IMO, he and Spike have chemistry - and I don't mean in the 'shippy way, although there's that as well - and actually seem like they could be genuine friends once they got over their differences.  Think of the way they work together in "Him" to solve the problem of the love spell that plagues the women on the show, for instance.  Or the comedy gold of Spike in Xander's basement apartment in S4 - which is repeated for dramatic rather than comic effect when Xander takes him into his apartment again in S7.  It may be at Buffy's insistence, but it's a reminder of Xander's capacity for loyalty (Buffy) and kindness (Spike).  I think there may actually be a streak of genuine brotherly liking or affection between the two; and like brothers - or like Spike and Angel - it's hidden in most cases behind snark and insults.  (Xander possesses the warm humanity and the friendly, nonsexual connection to Buffy that the man in Spike craves; Spike has is her confidant in ways he used to be but isn't after Bargaining, as well as the sexual connection to her he wanted so badly. And so it goes.)

So the task of Xander's arc in the end of S6 and throughout S7 is to come full circle, to truly become a man, to fully inhabit "himself": goofy Xander, Vamp Xander (wonderfully called back at the end of S7 when chloroforms Dawn) and Mature Xander.  This includes reconnecting with Anya, the woman whose heart he ripped out carelessly, not out of deliberate cruelty, in  HB.  
There's a lot of talk in fandom - and in the show itself - about Buffy's inability to love, about her inability to articulate or say the word "love" or her struggle to define it. In this way her struggle mirror's Xander's own: both Buffy and Xander, in rejecting and then accepting their demon partners, even if in flawed and imperfect ways, are learning to come to peace with their own inner demons.

Of course, it always comes back to Buffy in my head...and I have many thoughts about Buffy's dopplegangers that I'll save for another post.

Comments

[red-satin-doll.livejournal.com]

Vamp Willow and Vamp Xander definitely rival Spike and Drusilla for "sexiest vampire couple."

Absolutely. They gave me chills - the good kind - when I watched them onscreen together. I found myself wanting more of THAT from NB, although everyone talks about AH.

Less-competent Xander is how he sees himself.

Very much so, particularly in S4, we see that a lot; Restless, for example, his fear of being unneeded by Buffy (and thus unheard) in Fear Itself - which isn't logical but when is fear ever logical? (And we're back to Hell's Bells) Xander is the anti-Giles in that respect, no wonder they don't get on. (Whereas Anya is likewise ruthlessl logical/rational in a child-like way as well. Hmmm.) It's ironic, in terms of being "less competent" that Xander is the one who ends up in the best financial situation of the Scoobies in S6 - after spending S4 feeling inferior class-wise because he wasn't in college. (I don't know if the writers were intending a commentary on the earning power of men vs women, although the situation reflects statistical realities.)

My favorite way to look at Xander's function on the show is as an investigation of masculine identity in world where feminine power is a given.

disagree slightly - the superhero powers of the Slayers is a given, but they have been handed to her without her consent, and within that, the Slayer has very little autonomy or freedom, and Buffy has to fight, not for physical power, but for the freedom to use it as she choses, and have her decisions honored, every step of the way. (Which is part of what makes the Slayer spell in Chosen deeply problematic IMO.)

Willow and Buffy struggle a lot with identity issues, but it doesn't seem tied into their sexual identities in the same way.

Really? I would say quite the opposite. Could you clarify what you mean in more detail? I don't want to make assumptions.

Now I want to see a BTVS mash-up with The Wizard of Oz. But maybe that's because I just saw the touring production of Wicked here in Seattle.

*lol* I kept wanting to bring the spell to call the First Slayer into this - that's another meta in its own right, but related. Just as identifying too much with any one alternative self or doppleganger causes problems, identifying overmuch with their labels in the spell has the very same effect. Giles, for instance, hides behind his intellect and rational, and cuts off meaningful connections with Joyce, with Buffy, etc and so on. Buffy as "the hand" using physical acts - violence, sex - to alleviate her pain as no other therapy is available to her.

A mash-up might be fascinating, though. Illustrated fanart form?

I'm crafting the poll for All the Way and that come up in that episode.

Good excuse for me to rewatch it - S6 really speeds along, doesn't it? At least the first third. I've seen a lot of fannish opinion that really hates ATW, but I found Dawn's longing and disappointment palpable and heart-wrenching; not as much as Buffy's in S2, but all the Summers woman have bad sex lives. (Have you read gabrielleabelle's meta "Buffy's Bad Sex Life"?)

Just like Riley, he seems at his worst toward Spike when he sees him as a romantic rival.

Xander towards Angel, Angel towards Riley and Spike (and vice-versa) - all the men in the show who have a romantic interest in Buffy try to assert ownership over her in some fashion. Which reflects on a more intimate scale patriarchial norms as represented by the WC and Giles. And that of course is a huge part of her struggle. The Slayer spell in Chosen can be seen as the subversion of that, breaking free of the patriarchy - but it's problematic. Does she break free of the patriarchy, or confirm it's norms, remain the Flapper, writ large, rather than the Wild Woman? I think it can be argued both ways.

Buffy takes love seriously.

Completely this. I misspoke when I said "her inability to love"; what I meant was her perceived (by fandom) inability to love. I see her as full of love; when fans say she didn't love Riley (despite all she does) or that she didn't mean what she said to Spike in Chosen I just know we're not watching the show through the same lens.

[mcjulie.livejournal.com]

Willow and Buffy struggle a lot with identity issues, but it doesn't seem tied into their sexual identities in the same way.

Really? I would say quite the opposite. Could you clarify what you mean in more detail? I don't want to make assumptions.

I realize now that "gender identities" might have been closer to what I meant. Xander observes people's behavior, including his own, in terms of gender norms and identification much more than any of the other characters. Just as an example, his dialog in Bargaining Part 1:

"House o' chicks, relax. I'm a man and I have a tool! Tools. Lots of plural tools. In my toolbox. Many sandwiches! Excellent. Men like sandwiches."

That's the sort of thing I'm talking about.

[red-satin-doll.livejournal.com]

I realize now that "gender identities" might have been closer to what I meant. Xander observes people's behavior, including his own, in terms of gender norms and identification much more than any of the other characters.

GOTCHA. That makes complete sense now. It really is confusing, in that our culture (and language) don't articulate the two ideas very clearly. We tend to be a bit sloppy in separating them out. ( I think that was one of the gifts of 20th century feminism and the LGBT movement, parsing those identity issues out beyond simple binaries.)

Of the two women I'd say perhaps Buffy has more of a struggle than Willow - Willow may struggle with and against claiming/expressing her own power and sexuality but she doesn't seem to have any confusion regarding her gender identity, regardless of orientation. And she gets comfortable with "gay now" a hell of a lot faster than I ever did. :)

Buffy has maybe a bit more of a struggle than Willow only in the sense of having a very traditionally male role - warrior, fighter - thrust upon her. She has no doubt about her femaleness, but her self-presentation in S1 (and occasionally S4) sometimes borders on a parody of "girlyness", but in S1 that may have to do with not only rejecting the Slayer role but hiding her identity as Giles' insists. But also I'm sure it has to do with JW and ME's conception of "girl in the alley" horror trope they were trying to subvert (this slip of a girl is a superhero), as well as making her sexually attractive to the audience. When SMG was able to assert more control over her own image, esp S5 onward, her clothes become slightly more conservative and elegant. And there's also the more comedic tone of S1 at play here.

But you're right about Xander, and it's interesting that both he and Spike "perform" masculinity, trying to define it for themselves without role models (or in Spike's case, rejecting the role models at hand). In both cases it's a severe lack of confidence, I think; compare Oz, who in S3 is so very comfortable in his own skin that he only needs to be himself, to "be" without conscious effort.

I think perhaps Xander is also looking for praise, for pats on the back and recognition for competence?