Very much so. We wouldn't still be talking about the show ten years later - it's the holes and the ambiguities that make it possible! (I couldn't figure out why people have been writing and talking about a tv show for 10 years - that there are academic studies devoted to it - until I watched the series this year. Now I only wonder why it took me so long to find it.)
or b) the writers hadn't thought of Robin yet)
I'm positive they hadn't thought of Robin yet - there is no one else on that subway car as far as we can see (if they had thought up Robin we would have seen him, or been introduced to the adult version on the show much earlier, I think,perhaps in S5).
Speaking of - I've not lived in New York but have visited several times and taken the subway at all hours and have NEVER seen a car that wasn't packed. Definite creative license in that scene!
Was it just to mess with Buffy's head? (We know Spike was good at perceiving peoples' weaknesses and using them to manipulate.) Or did Spike really believe what he was saying, and if he did believe it, why did he?
I honestly think a little of both; Spike's motivations are always very complicated. He's skilled enough of an observer of human nature, in many instances (Beginnings, Something Blue, Tough Love, The Yoke Factor, etc) to the point that I think he gets a little cocky and overestimates his ability in that regard.
But the "mess with Buffy's head" factor can't be ignored IMO. Suddenly the Slayer who has pretty much looked down on him, the one he is attracted to (because he can't kill her, so that urge has been sublimated - beyond whatever genuine attraction exists), is coming to him for advice. the tables have been turned and now he's in control of the situation - or so he thinks. (Of course Buffy pushes him away.) being master manipulator, as well as a showman and drama queen, he's going to take the opportunity to both show off, crow about his accomplishments AND get under her skin.
He does the same thing - try to get under her skin in order to get closer to her, to take control of the situation - in Smashed, with "You Came Back Wrong", and Dead Things "You belong in the dark with me"; both times she's the one who turns the tables and wrests control of the situation back from him.
Spike's biggest "error" perhaps is thinking he can somehow "control" Buffy - which is part of what contributes to the tragedy of SR (not to get into that too much here, oy vey), and even to the soul-quest: this action will result in this response. Both he and Buffy learn how to "let go" in S7 (or how to take/share control appropriately), but it takes them an entire season.
no subject
Very much so. We wouldn't still be talking about the show ten years later - it's the holes and the ambiguities that make it possible! (I couldn't figure out why people have been writing and talking about a tv show for 10 years - that there are academic studies devoted to it - until I watched the series this year. Now I only wonder why it took me so long to find it.)
or b) the writers hadn't thought of Robin yet)
I'm positive they hadn't thought of Robin yet - there is no one else on that subway car as far as we can see (if they had thought up Robin we would have seen him, or been introduced to the adult version on the show much earlier, I think,perhaps in S5).
Speaking of - I've not lived in New York but have visited several times and taken the subway at all hours and have NEVER seen a car that wasn't packed. Definite creative license in that scene!
Was it just to mess with Buffy's head? (We know Spike was good at perceiving peoples' weaknesses and using them to manipulate.) Or did Spike really believe what he was saying, and if he did believe it, why did he?
I honestly think a little of both; Spike's motivations are always very complicated. He's skilled enough of an observer of human nature, in many instances (Beginnings, Something Blue, Tough Love, The Yoke Factor, etc) to the point that I think he gets a little cocky and overestimates his ability in that regard.
But the "mess with Buffy's head" factor can't be ignored IMO. Suddenly the Slayer who has pretty much looked down on him, the one he is attracted to (because he can't kill her, so that urge has been sublimated - beyond whatever genuine attraction exists), is coming to him for advice. the tables have been turned and now he's in control of the situation - or so he thinks. (Of course Buffy pushes him away.) being master manipulator, as well as a showman and drama queen, he's going to take the opportunity to both show off, crow about his accomplishments AND get under her skin.
He does the same thing - try to get under her skin in order to get closer to her, to take control of the situation - in Smashed, with "You Came Back Wrong", and Dead Things "You belong in the dark with me"; both times she's the one who turns the tables and wrests control of the situation back from him.
Spike's biggest "error" perhaps is thinking he can somehow "control" Buffy - which is part of what contributes to the tragedy of SR (not to get into that too much here, oy vey), and even to the soul-quest: this action will result in this response. Both he and Buffy learn how to "let go" in S7 (or how to take/share control appropriately), but it takes them an entire season.