You Are There

There have been episodes of Xena (and Hercules) that have severely bent the rules of time and space in the name of narrative convenience. But I don't think an episode has ever broken those rules so blatantly -- or so brilliantly.

This episode is certainly not to everybody's taste. Fans who are bothered by YAXIs, those who watch for a much more rigid consistency, and those who prefer dark, gritty realism to light-hearted, goofy play will probably be offended by this episode.

And that's perfectly fine. One of the beauties of the Xena fan community is the incredibly diverse array of backgrounds and opinions present. Indeed, the fact that some fans didn't blindly swallow the latest offering with fanboyish glee supports the theory that Xena fans are among the most thoughtful, intelligent, and discriminating fans in the realm of science fiction and fantasy.

As for myself, I didn't find this to be the funniest episode in the history of the show. It comes very close, however. If this episode had been played straight, I don't think it would have been anything remarkable. After all, how many of the plot elements have we seen before? Without too many changes, this episode could have played like a retread of The Quest -- a fine episode, but it's been done.

Instead, the script approaches this episode from a totally different direction. While it is primarily a parody of in-your-face tabloid journalism, the show also pokes fun at itself, proving once again that while the RenPic crew takes their work seriously, they aren't above having a laugh at their own expense.

The cast list reads like a Who's Who of the past season; Caligula, Odin, and Lucifer appear along with Eve, Beowulf, the Valkyries, and other characters. The episode is also filled with wonderful moments.

Michael Hurst adds yet another character to his Xenaverse credit. Nigel the reporter isn't a bad sort -- he's just a little bit blunt. He honestly believes that he's getting to the bottom of a major cover-up, only to discover that the truth isn't always readily apparent. Despite the obstacles and challenges that are thrown in his way, he approaches his job with dedication.

One of the funniest moments in the show illustrates this point beautifully. After speaking with the angel -- excuse me -- Archangel Michael, Nigel is sent to Hell where he scores an exclusive interview with the Prince of Darkness. When he picks himself up off the ground he looks at the camera and says, "We are here, in Hell," in the very same tone that he introduces all the segments for his dirt-digging TV show. Neither snow nor sleet nor fires of Hell will keep this reporter from his appointed rounds.

Another wonderful subplot in this episode involved Eve. When Nigel interrupts their prayer circle, his probing questions upset Eve and she begins to swear at him in true Jerry Springer fashion -- ending her tirade with a right hook that sends the reporter sprawling.

The clincher to the whole gag comes at the end of the episode, when the final wrap-ups are being shown. Eve and her followers are in the studio, apologizing for their behavior. The only way to atone for this was for Nigel to flagellate them.

From my point of view, this was funny on several different levels. First of all, Nigel's reaction was priceless. Second, the fervent, monotheistic belief system that many fans felt has been infecting the series since it was introduced gets a sly dig without being overtly offensive. Finally, it reminded me of the hysterical sequence in Monty Python and the Holy Grail with Galahad in Castle Anthrax and the punishment Zoot must endure for lighting the grail-shaped beacon ("First come the spankings!").

There are far too many in-jokes and cultural references to adequately cover in this episode. If you didn't like this episode the first time around, a second viewing may moderate your opinion if you keep the following in mind.

Ultimately, this episode is about Nigel, and how his work to uncover the deep dish on Xena changes his life. In fact, I get the impression that the ultimate message of this episode is this: if the show's detractors would only take the time to look beneath the surface, they would find their lives changed and enriched by the experience.

There is one more point I'd like to raise before I bring this commentary to a close. This episode deals with a growing conflict between Xena and Michael. That conflict, I believe, should have been the focus of the latter half of the season. In The God You Know Xena's power to kill gods is taken away when she uses that power against Michael. In his interview with Nigel, Michael reveals some of his feelings about the warrior princess, claiming that she isn't really working for the greater good, but only her own selfish ends.

Michael's attitude isn't new to the series -- it appeared in Crusader when Najara appeared on the scene. Najara believed that she knew what was better for people than they did themselves. It would appear that Michael feels the same way. Indeed, looking back on the early episodes this season (most notably, Heart of Darkness) it would appear that Lucifer was merely the most obvious symptom of a greater cancer afflicting the soldiers of Heaven.

Xena has always fought for people's freedom to live. Humanity doesn't deserve to be enslaved by physical chains or intellectual ones. The respect that Xena has for Eve's beliefs doesn't seem to be returned by those in the higher echelons of the belief. Xena returned Ares and Aphrodite to Olympus not just to get love and hate back into the world, but also to give humanity the freedom to worship as they chose. I get the impression Michael believes humanity doesn't deserve that freedom, or that choice.

Unfortunately, the potential of this conflict is never realized. Michael doesn't appear in any more episodes, and nothing addresses the groundwork laid here and in other episodes. This is, in my opinion, a failing of the season. It doesn't reduce the effectiveness of this particular episode, but it is a notable shortcoming.

Hercules: The Legendary Journeys and Xena: Warrior Princess are at their best when they are darkly realistic and emotionally powerful, or humorously subversive and self-deprecating. This episode is a classic example of the latter. While it isn't perfect, it deserves a great deal more credit than I believe some fans gave it. In the end, I give it an A-minus.

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