Glory is determined to get the Key, and so sends her minions to find someone Buffy is spending all her time with. Sadly, Spike has just taken delivery of a robot Buffy and he becomes prime suspect for Keyness.
Nicely straddling drama and comedy as all of Jane Espenson's best scripts do, the wonderful concept of the Buffy robot programmed to do exactly what Spike wants gives way to more serious events when our much-loved vampiric friend comes face to face with Glory. Sarah Michelle Gellar gives a superb performance as both herself and the robot, especially fun when Buffy realizes her friends couldn't tell her from a metal construct. The robot's simple outlook on the world is hilarious, and her thoughts on Angel demonstrate just who's been programming her.
What's most impressive is how well the story brings together several disparate elements. Buffy sets out with Giles on a quest to learn about her Slayer 'edge', bringing back some of the concepts from last season's Restless that will no doubt prove to be important as time goes on. That said, it's good to see Buffy have the same reaction as the rest of us to pseudo-religious twaddle: 'Huh?'. Not only does it serve a vital purpose in setting things up, it also keeps Buffy out of the way while the robot version makes Spike happy.
And then there's Spike versus Glory. The hellgod's punches are as painful-looking as ever, but it's Spike's real sense of honour that really satisfies. Not only does he refuse to give in, even though it may mean his death, it also leads to Buffy finally noticing him for what he is and how he really is acting for the good of others for once in his life. It's a careful and gentle evolution of the character that works well, and looks to be forging a strong team as the final battle approaches. Although how you take on firepower of that magnitude is anyone's guess...
****
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