Teaser
11A) "I just love springtime..." TIME AFTER TIME: "Throughout the course of the series, it's generally assumed...that the story being told is happening 'now,' as in the time the...[episode] is first broadcast. Being near the end of the first season, we are to assume this story took place somewhere in the third week of May, 1997. Perhaps not on the day it was originally broadcast, but close to it. It's almost the end of the school year for the gang, again evidence that the story's occurring in the original audience's 'real time.' Most television producers just conveniently avoid specifics of time, but Whedon often makes a point to illuminate the time, which gives the storytelling a sense of immediacy and pertinence for the first broadcast viewer."--ZachsMind, Fri, 10/25/02 at 12:57:06
11B) "Off the rack gives me hives." COLLOQUIALY GOODNESS: "Off the rack" is a "modern colloquialism for purchasing goods and services (particularly clothes) from a mass distribution system. It's believed that fashion conscious people can tell when something is off the rack of a clothing store by looking at it, and that such clothing is not as perfect a fit as those made especially for 'special' people. Yet another indication of Cordelia's shallow, vain, elitist facade. 'Hives' is a condition of human skin, where the epidermis turns red in color, and becomes painful or sore to the touch. This condition usually occurs due to allergies or illness. Colloquially, if someone doesn't like someone they exaggerate and claim it will give them this condition. If someone actually believes this irrationally, they're known as a hypochondriac. Cordy's none of those things. She's just a boob."--ZachsMind, Fri, 10/25/02 at 12:57:06
11C) "My eyes are hazel, Helen Keller." HISTORICAL REFERENCING: "Born June 27th, 1880 in Tuscumbia Alabama, Helen Adams Keller was...[a] perfectly normal...[baby]. However, a feverish disease almost killed her at 19 months old, and left her deaf and blind for life. With the assistance of Anne Sullivan she learned how to function in society despite her disability, and lived a rich and full life as an inspiraton to others. Cordy uses Keller's name in this context as an insult, insinuating Mitch is...blind."--ZachsMind, Fri, 10/25/02 at 12:57:06
This line is also an indication of the recurring theme of "not being seen" in this episode. This line ties in to when Cordy later laments the fact that she can be surrounded in a room of people but be completely alone (see 11UU). Mitch sees her as a beautiful and popular girl he can have on his arm at prom (and do a whole lot more with him later that night--see 11M), but does not even notice the color of her eyes. Of course, in typical Cordyish moral ambiguity, she objectifies him as well (see 11V).--Rahael, Wed, 10/30/02 at 09:49:02, paraphrased by Rob
11D) "Well, I haven't been elected May Queen yet." HISTORICAL REFERENCING II: "The concept of celebrating May Day has its origins fully immersed in pagan ritual. It was the festival of Beltane, which represent[ed]...the promise of successful crops for the farmers of early humanity.(a)" "The original May Queens were girls who were chosen, because of their beauty and congeniality to be sacrifices. Interestingly, Cordelia, the May Queen of Sunnydale, almost becomes a sacrifice herself to Marcie Ross (b)! The festival of Beltane "was bookened every year by the festival of Samhain, which celebrated The Harvest of those crops. Some pagans may see significance that every season other than season one, Buffy's tale starts just before Samhain, and ends during Beltane. This period in ancient pagan history was seen as a dark and fearful time, as it was the coldest part of the year when the ancients felt the furthest away from their gods (a)." On Buffy, this is always the time of year when the Big Bad does its most apocalypsey acts. Another interesting fact is that "in the 1950's there was a definite social reaction in the US against the kind of vanity portrayed by Cordelia. Someone like her was called derisively 'the Queen of the May. (c)'"--(a) ZachsMind, Fri, 10/25/02 at 12:57:06; (b) Charles Phipps, Wed, 10/23/02 at 23:56:44; (c) Cactus Watcher, Thurs, 10/24/02 at 07:23:30, with some additions by Rob See 11N and 11P.
MUSICALLY SPEAKING: "You can tell I'm from the '60s: first thing I associate w/Cordelia's 'May Queen' comment is Led Zeppelin's Stairway to Heaven! OK, no mention of bustles in hedgerows, but still...Although, now that I think about it.... Whoa. Maybe there is a connection. I can easily imagine Cordelia as the 'lady who's sure all that glitters is gold,' 'buying a stairway to heaven.' When her father loses his money due to tax malfeasance [in the third season], she finds that her 'stairway lies on the whisp'rin' wind.'"--anom, Sun, 05/25/03 at 21:33:17
11E) "Behold the weirdness." VERY VISIBLE BUFFY: "The Scooby gang are stronger and more mature than Marcie - they don't accept Mitch's or Cordy's perception of them to be true. They are their own people. So much so, that Buffy's 'weirdness' isn't invisible, but keeps leaping out. She drops her bag in front of Cordy and Mitch, and all her Slayer paraphanelia drops out..." Everyone notices and laughs, unlike Marcie, who allowed the internalization of her "outsider" nature to get to the point where she disappeared all together (see 11NN).--Rahael, Wed, 10/30/02 at 09:49:42, with some additions by Rob
GIRL DROPS STAKE: The stakes and various slayage equipment that fall out of Buffy's bag match the scene in Welcome to the Hellmouth, when Xander discovers a stake that has rolled out of Buffy's bag (see 1K).--paraphrased from a submission by Peter
11F) "She is always hanging with the creepy librarian in that creepy library." CONTINUITY CHECK: This is a rare case where the fact that the time Buffy spends with Giles in the library does not go unnoticed by the other kids in the school is directly addressed. See 6C.
11G) "...the time that she attacked me?" CONTINUITY CHECK: This is a reference to Welcome to the Hellmouth, when Buffy mistakenly brandishes a stake at Cordelia near the Bronze bathroom before realizing that she's not the DeBarge-dressed vamp macking on Willow (see 1TT).
11H) "How does what Shylock says here..." LITERATURE CORNER: "In many ways this episode is part of the continuing trend since the late '90s of "High School" remakes of classic literature. BtVS comes the closest to direct literary adaptation it has ever come with a supernatural-horror version of...[one of Shakespeare's most controversial plays, The] Merchant of Venice. Cordelia is Antonio, the privileged figure who has abused the 'outsider[s]'...all her life with no concern for their feelings." Shylock is a Jewish moneylender. "Jews became moneylenders in early-modern Europe because anti-Semitic laws banned them from most occupations. Christians were at this time banned from lending at interest by religious prohibitions, and so passed this necessary but immoral economic function onto the despised outsiders." Shylock, in one of his dealings with Antonio, demands a pound of flesh from him should he not return the money. When Antonio later refuses to pay up, Shylock demands that he make good on the offer. "Marcie, like Shylock, is driven to deranged and uncondonable vengeance by a string of abuse. Marcie plans to revenge herself on Cordelia with an act of mutilation just as Shylock does Antonio. Marcie's literal invisibility, the consequence of her powerlessness, gives her power over Cordelia. In a similar way Shylock's power over Antonio comes from his role as a moneylender. Both Antonio and Cordelia are rescued by a woman who has little direct connection to them, but is acting through a higher duty." Cordelia is saved by the Slayer, while Antonio is saved by a brilliant woman, Portia, who disguises herself as a male lawyer in order to plead his case in court."--KdS, Thurs, 10/24/02 at 04:58:18, with some additions by Rob
The particular section of the play from which Ms Miller quotes is "the pivotal turning point of the story, where Shylock sinks down to the villainous level of his tormentors. In modern times his sentiments are used to voice equality and bring groups of difference together, but in the context of the original play, Shylock's intent was exactly opposite. He felt himself wronged, and from his perspective...[he] was the hero of the story, or so he incorrectly believed...[; it was meant to justify his arguably evil behavior.] Some evil characters in Buffy like The Master...[Marcie Ross] and even Dark Willow in season six, share much with Shylock's point of view."--ZachsMind, Fri, 10/25/02 at 12:57:06
"Shylock's speech is saying not just 'I'm as human as you are' but 'Wouldn't you do the same?' His point is that taking revenge is what a Christian would do if wronged, or at least that's what he's seen them do. He's promising to outdo the Christians at their own game, because if they act this way when they think they're better than he is, why should he act any better than they do? Marcie must have seen Cordelia & her clique exact revenge on anyone who tried to take them on, but she, like Shylock, didn't have the position of power in society that would let either of them get away with it."--anom, Sun, 05/25/03 at 21:33:17
CONTINUITY CHECK: A similar concept, of linking a Shakespeare play taught in the classroom to the overall theme of an episode occurs in the third season's Earshot, an episode which has many other links to this one (see 11UU and 11BBB). The play taught in that episode is Othello.--submitted by Peter, paraphrased by Rob
11I) "Well, everyone looked down on him..." WILLOW: It is interesting to note that Willow is the one to defend Shylock, not only because she herself Jewish, but because she herself struggles with feelings of inferiority. "It is ultimately the very same feeling of being an outcast/helplessness which will drive Willow to embrace magic as a means of gaining a place in the world...[This will even, eventually] drive her to evil. In Marcie Ross's case it will do much the same with the similar pattern of an outcast...[being] lead...to...[commit] violence against the society that spurned her. And just as Marcie becomes invisible in this episode, so does Willow in the seventh season's Same Time, Same Place. See 11FF.--Charles Phipps, Wed, 10/23/02 at 23:56:44, with additions by Rob
11J) "That is such a twinkie defense!" POP CULTURE TIME: "The Twinkie Defense was an infamous San Fransisco California legal bit of handiwork where a man claimed that because of his high sugar level that he had been driven to commit murder. The defense actually worked until it was overturned from a higher court." Cordy's implying that Shylock doesn't have a convincing case.--Charles Phipps, Wed, 10/23/02 at 23:56:44
11K) "It's always exciting to know someone's actually done the reading." POOR WILLOW: The theme of being unnoticed in this episode manifests itself in many different ways. Here, Willow finds that she is being beaten on her own turf, the classroom, by arguably the last person she would ever have considered a threat. The teacher is acknowledging Cordelia's accomplishments, and not hers. Obviously Willow wants vain, shallow Cordelia to continue worrying about fashions and boys and leave the superiority in the classroom to her. There are very few places where Willow can feel superior, and Cordelia has now robbed her of this one as well. Interestingly, Ms Miller ignores Willow here the same way that she had ignored Marcie in the past (see 11NN), perhaps meant to comment on the fact that, although Marcie feels like she is the only person suffering in high school, that just about everyone who is not Cordelia or a Cordette is as well (see 11BBB). We even learn in this episode that Cordelia herself is deeper than she appears (see 11UU).
11L) "I have all these thoughts, and I'm pretty sure they all contradict each other." THE DEPTH OF CORDELIA: This line hints at the internal conflict of Cordelia, between the popular, self-assured, bitchy facade that she shows the world, and the deeper, sadder side of herself that she keeps hidden from the world (see 11UU). "The Cordy we see in this ep is complex and has depth. She is empathetic, and cruel all at the same time."--Rahael, Wed, 10/30/02 at 09:49:02, with additions by Rob
11M) "It's not her arm I'm looking to be on." CORDY THE OBJECTIFIED: "There seems to be a sense of a 'rite of passage' here...Marcie gets rid of her changing, growing body, which has moved from childhood to adolescence...[Perhaps this is meant to imply that Marcie cannot deal with these changes, as contrasted with Cordelia, who, in this episode, is synonymous with the] 'Springtime' (associated with youth) and sex. Cordy is the beautiful May Queen. She also appears to be 'sexually available' because we know that that's what her date Mitch is hoping." He objectifies Cordelia here just as much as she does to him (see 11C and 11V).--Rahael, Wed, 10/30/02 at 09:49:02, with some additions by Rob
FROM THE ORIGINAL SHOOTING SCRIPT: "ANGLE: THE SPOOKY POV--AMONG THE LOCKERS...Somewhere near the back, watching as the two Buds wave goodbye. There's something rather ballsy about the POV--whoever it is doesn't seem too concerned with concealment."--"Out of Mind, Out of Sight" by Joss Whedon; Teleplay by Ashley Gable & Thomas A. Swyden, available from Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season One, Volume Two
STEREOTYPE REVERSAL: "The first time we notice Marcie it's a reversal of a stereotype. This time we have a girl lurking around the boy's shower room. She is not there to gawk, but to do harm. Later in the ep Xander says that if he could be invisible, 'I'd use my powers to protect the girl's locker room.'"--Cactus Watcher, Thurs, 10/24/02 at 07:23:30
Act One
11N) "I don't even like chocolates." CONTINUITY CHECK: This is, of course, a lame-oid comeback on Buffy's behalf, to try to convince herself that Cordy has not just hurt her. "Buffy will say in a later episode, 'There is no problem that cannot be solved by chocolate.' She will also have a chocolate poster on the door of her college dorm room."--Cactus Watcher, Thurs, 10/24/02 at 07:23:30 See 11P and 33Qx4.
11O) "You had to be there." ODD GIRL OUT: This is one of the last times in the show's history where Buffy will feel left out by Willow and Xander for not having been there with them in the past. They have bonded and become fast friends, but Buffy still is the new person in this relationship, a new person that, in many ways replaced their former friend, Jesse (see 1H). As the end of this school year draws nigh, though, Willow, Xander, and Buffy continue to form their own new memories and close ties so that soon they reach the point where the fact that Will and Xander knew each other longer becomes a non-issue. It's also important to note that once again, we get the theme of the outsider. In this case, even in Buffy's own close-knit circle of friends, she is still the outsider, and always will be, to a certain extent, since she is the Slayer.
11P) "I was." THE BUFFY/CORDY CONNECTION: This line again underlines the fact that, back in LA, Buffy was not very much different than Cordy (see 1N), and that, just about a year ago, Buffy was probably not the type of person who would have hung out with Willow and Xander. Interestingly, the next time we see Cordelia run for Queen, in the third season's Homecoming, Buffy will be her main opponent, in an attempt to reclaim her former life for a short time. In that episode, one of Buffy's main campaign strategies is to "offer chocolate cupcakes...[to potential voters, much as Cordy offers chocolate in this episode (see 11N)] but by then Cordy had upped the stakes to gift baskets."--ponygirl, Thurs, 10/24/02 at 09:12:38, paraphrased by Rob For more on Buffy as Cordy, see 11BB.
11Q) "Where do you think you're going?" PRINCIPAL VS. PRINCIPAL: This line perfectly illustrates the difference between Snyder and Flutie. Whereas Principal Flutie was known as someone who tried to nurture each student, albeit unsuccessfully (see 4R), Snyder makes a clear delineation between himself and who he considers to be his inferiors (see 9C). Had Flutie spoken this line, as he did to Buffy in Welcome to the Hellmouth (see 2Q), he would have said, "And where do we think we're going?" Snyder, however, is clear that it is not "we"; it's "you."
11R) "What did you say? Mitch was gonna sue the school?" WILLOW GOOD LIAR: See 5S.
11S) "And monsters don't usually send messages. It's pretty much crush, kill, destroy." HUMAN EVIL: This is the second human villain on Buffy in a row (see 10SS), which perhaps was meant as an early indication that the show would ultimately take us to darker places than mere demonic evil, for human evil can be far worse. Interestingly, the human villain in this episode, unlike the other one, was actually "created" by the very people she is tormenting, including Willow and Xander, by their ignoring of her. The capacity for darkness lies in everybody, as the show indicates time and again (see 2W).
"'...crush, kill, destroy...' This is from the Lost in Space episode, Revolt of the Androids. It's spoken by one of said androids--basically as a statement of its programming. Like the android, most Buffyverse monsters (as distinct from demons, including vampires) have no deeper motivation. The line has lasted long beyond most people's memory of its origin."--anom, Sun, 05/25/03 at 21:33:17
11T) "Maybe it's a vampire bat." PUN FROM HELL: Obviously a pun on the two meanings of the word "bat," namely the thingy that whacks baseballs and the animal into which many mythologies, like Bram Stoker's Dracula, (although not Buffy's) say vampires can turn.
11U) "...or possibly a poltergeist." WHO YA GONNA CALL?: Real poltergeists will be faced in the second season episode, I Only Have Eyes For You, and in the first season Angel episode, Room W/ A Vu.
11V) "How's he gonna look in our Prom pictures?" CORDY THE OBJECTIFIER: An example of how Cordy objectifies Mitch, just as he does to her (see 11C and 11M).
11W) "Oh, for heaven sakes!" THE EVIL OF SNYDER: Snyder proves himself to be just as heartless and self-centered as Cordelia seems to be at this part of the story. Just as Cordy's major trauma from Mitch's accident is the fact that he will look awful in their prom photos (see 11V), Principal Snyder does not care about Harmony's pain here, but the idea that Sunnydale High might be slammed with a lawsuit, which would reflectly poorly on him, the new principal.
Act Two
11X) "I would give anything to be able to turn invisible." LIVING IN AN INVISIBLE WORLD: See 11FF.
11Y) "Is she a witch? 'Cause we can fight a witch." CONTINUITY CHECK: Willow is referring here to their defeat of Catherine Madison in The Witch, and also unintentionally foreshadowing a time when the rest of the Scooby Gang will be unable to fight a witch--Willow herself!
11Z) "Greek myths speak of cloaks of invisibility, but they're usually for the gods." GREEK MYTHOLOGY: This statement may or may not be accurate; one can never be sure with Greek mythology, since it was spread by oral tradition, thus leading to many different versions and incarnations of the same stories. But the God of the Underworld, Hades, did have a Helmet of Invisibility.--Charles Phipps, Wed, 10/23/02 at 23:56:44, paraphrased by Rob
11AA) "This girl's sorta petty for a god." FORESHADOWY GOODNESS: Little does Buffy realize at this point that some gods can be pretty petty, a fact she will learn first-hand when confronting the vain and shallow Glorificus in the fifth season.--KdS, Thurs, 10/24/02 at 04:58:18
11BB) Buffy hears the conversation... FROM THE ORIGINAL SHOOTING SCRIPT: "ANGLE: BUFFY LOOKING THROUGH THE DOOR...She looks at her 'hunting' attire. Then she looks back at Cordelia and her friends, who are having such fun. Buffy quietly shrinks from the door."--Out of Mind, Out of Sight" by Joss Whedon; Teleplay by Ashley Gable & Thomas A. Swyden, available from Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season One, Volume Two See .
11CC) "A vampire casts no reflection." VAMPIRES & REFLECTIONS: "Vampires cannot be seen on reflective surfaces...'The origin of the lack of image in mirrors is traced back to the legendary ability of silver to combat evil. Way back when, mirrors were backed with silver to provide the reflection...Nowadays, I'm pretty certain they come backed with aluminium...So, it's not the fact that vampires wouldn't show up due to some strange light-trick, it's the fact that mirrors contained silver, their most feared and hated element' (Kenickie. Jun 17 09:07 1999)..." Of course that doesn't explain why their reflections don't appear in water or on glass surfaces either--Angel was surprised, and delighted to see his reflection in a small pond in Pylea, a demon dimension whose metaphysical rules were different than that of ours, in Through the Looking Glass--so we must remember what Joss says, "It's not physics, it's metaphysics," meaning the rules of the Buffyverse cannot always be explained by conventional scientific means, because magic itself defies the laws of natural science.
"They can be seen in photographs...and on video tape...'Video recorders don't rely on mirrors like standard cameras do. They utilize rapid line-by-line scanning on the field of view, convert that into an electromagnetic signal, and record it on whatever media you're using. Basically, it works for the same reason you can see a vampire directly with your eyes, but not a reflection of it' (Shalazar, Oct 6 10:37 1999)." (a) Even a standard camera could take a picture of a vampire, because it "does not use a mirror to make an image on film. It does, however, use a mirror to aid in focusing the image. The viewer focuses, then when the button is pushed, the mirror flips up at the same time the shutter opens, then flips back down when the shutter closes. Thus, when the image is actually being recorded on the film, the light is simply passing straight through to the film. This is why vampires can be photographed, though I imagine most of the time they would be out of focus." (b)--(a) Masquerade, "Vampires and Reflections," from http://www.atpobtvs.com, with some additions by Rob, (b) Lurker, Wed, 12/11/02 at 11:26:58 See 1V.
11DD) "A vampire in love with a Slayer. It's rather poetic! In a maudlin sort of way." FIRST MET: This is the first meeting between Giles and Angel. Unlike Xander, Giles is not immediately antagonistic to him, although he does definitely keep him at arms' length, and there's little surprise. After all, soul or no soul, Angel is the thing which Giles has been trained to train Buffy to kill. And leave it to Giles to put things in perspective re: Angel and Buffy's relationship. Buffy is a very unique show, not just for its unusual depth but for its self-deprecating humor. While on the viewers are encouraged to think beneath the surface of the action and horror and to care deeply for the characters, the writers always want to make clear that when it comes down to it, this is a television show. Any time the show may be in danger of being accused of taking itself too seriously, a line like this one of Giles' is here to bring the characters and the stories down to earth.
11EE) "...the Pergamum Codex..." CONTINUITY CHECK: The Codex will play a major role in the next episode, Prophecy Girl, as will the huge things in motion about which Giles and Angel speak. See 11VV , 11YY, and 11DDD.
11FF) "Looking in the mirror everyday and seeing nothing there...It's an overrated pleasure." THE DOWNSIDE OF INVISIBILITY: "Marcie...seems like someone who is not growing, unchanged, fixed. Now that she's gotten rid of her body, her physicality, all that's left is her bodyless emotions (a). The thing about Marcie's losing her body is that it's an illusion. Her body's still there, it just can't be seen. Otherwise she couldn't do things like push people downstairs or play the flute, and Buffy couldn't have punched her out once she knew where she was. If you prick her, she still does bleed, even if you can't see the blood. And to some extent, emotions are based in the body--they've been linked to hormones the body produces, although in the Buffyverse, bodiless entities like ghosts and the First are by no means free of emotion (b). There almost is a connection, in her invisible otherness, with vampires...Vampires are 'invisible' for ordinary Sunnydale residents, who'd rather pretend they didn't exist." Further, vampires are invisible from themselves, since they cannot see themselves in mirrors, as Angel says here. Out of all the characters besides Marcie, Angel, then, is the only other other who can truly say he knows what it's like to be invisible. He does not have the same sense of awe, fascination or wonder about the idea that Xander and Giles do. Although many times invisibility is painted on the show as initially empowering, these feelings usually are indicative of darker things: Angel's years as Angelus soon give way to the misery he feels after the restoring of his soul; the loss of Marcie's visible body leads her to completely disconnect from humanity and sanity and then feel superior to everyone else; Buffy's stint as Invisible Girl in Gone is revealed also to indicate a great deal about her wanting to not be in the world anymore--after some playful fun and hijinks, it becomes clear that Buffy is becoming all too comfortable with the idea of disappearing. Invisibility equals false empowerment in the Buffyverse. Although the character may feel in control and free, he or she is under the thrall of a powerful force that could lead to his or her destruction, or undoing. Interestingly, the two characters in Buffyverse history who had their invisibility imposed on them (Marcie and Buffy) enjoy it, whereas the two who, albeit unintentionally, brought their invisibility upon themselves--Xander in Fear, Itself, when his fear of invisibility is made flesh [...it doesn't turn out to be what he thought he wanted (see 11X). Of course, he wants the ability to turn invisible...it's different when you're not in control of it. (b)]; Willow in Same Time, Same Place, whose subconscious fear of seeing the Scooby Gang again after recovering from her darkness makes her invisible--do not. Incidentally, both Willow and Xander have a more encompassing type of invisibility than Buffy or Marcie. They can neither be seen, heard, or felt. Willow, in particular, also cannot see, hear or feel the others herself, either (a).--(a) Rahael, Wed, 10/30/02 at 09:49:02; (b) anom, Sun, 05/25/03 at 21:33:17, with additions by Rob
"Now we can add to the examples given in the annotations the assumption by amnesiac Angel in Spin the Bottle, when he can't see himself in the mirror, that he's invisible...which is quickly contradicted by the equally amnesiac Cordelia."--anom, Sun, 05/25/03 at 21:33:17
11GG) "Oh! And did you guys check out that extreme toupee?" TAKING CREDIT: The idea of the egotist taking credit for another's thoughts has been played for comic effect in many different plays, movies, books, and television shows. One such example that springs to mind is Maxwell Smart, the lamebrained spy of the 1960s spy parody television series, Get Smart, created by Mel Brooks, one of whose running gags was suggesting ideas that his girlfriend, Agent 99, had come up with only moments before, and claiming them as his own.
11HH) "Being this popular is not just my right, but my responsibility..." VISUAL IRONY: "When...[Cordy] says this, the camera cuts to Buffy. We know who really does have duties and responsibilities in Sunnydale."--Rahael, Wed, 10/30/02 at 09:49:02
11II) "Her only activity was band. She played the flute." POP CULTURE TIME: This extracurricular activity has great significance in Allyson Hannigan's acting career. Only a few years after this episode, she would gain great acclaim for her portrayal of Michelle, a flute-playing band geek with a surprisingly huge sexual drive, in the hit film comedies, American Pie and its sequel.--Charles Phipps, Wed, 10/23/02 at 23:56:44, paraphrased by Rob