Spike and Faye: Strangers in the Night

This is a part of my “Alternate Take” on Bebop, basically a relook at the same series but from a different perspective. You can click here for background on that. This is a four-part series on the relationship of Spike and Faye across the entire series. The others can be accessed below:

Named this after one of my favourite songs. Just felt oddly fitting for this one. If you want to have a juvenile argument about your favourite “ship” please give me a pass. I really don’t care who dates whom or who ends up with whom in a work of fiction. This is just an analysis.


How you feel Bebop ends has a lot to do with your understanding or preference regarding the relationships in the show, both romantic and otherwise. Despite all the guns and spaceships it is, at the end of the day, a love story, and the tale of a ‘found family.’ Spike surviving at the end is not about his injuries-he’s survived way worse. The theme of the show is his karma and at that point he has faced up to it and resolved it. The question is whether he has the will left to continue from there or not.

I’ve honestly been fairly neutral on the topic of romantic relationships in the show over the years-for me gawking at the philosophy, political statements, satires, visuals, and way-ahead-of-its-time themes held more interest. It was a “cool” show…too cool for that sappy crap or whatever.

But this time around the relationships just naturally sucked me in. I realized I can’t escape delving deep into them because they are key to comprehending Spike’s character and, through him, the overall narrative. It’s everyone’s story but it IS primarily his story. Just focusing on the “cool” without any of the poignance or sentiments means getting only a partial picture. I can write about the hundred political statements and satires of the show without much effort-that’s the kind of thing I normally do. That’s also mostly what the commentaries floating around on the show talk about anyway so I won’t be doing anything new.

But this part took a lot of effort out of me. I wanted to understand what’s actually going on with these characters, what makes sense to me as an individual, not just rehash the different versions which keep floating around in cyberspace. I have never met anyone who has seen the show and told me they get it completely because there are so many parts to it which just stick out, like debris which doesn’t fit in with what is going on at the moment. I realise now, after years of the story marinating in my head, weeks of contemplation, re-watches, and writing that perhaps you need to approach it with a balance of logic and emotion to get a full picture. If you focus on just the “cool” you’ll see only disjointed parts.

I’ve mentioned before too that Bebop is similar to a Noh play. Unlike drama in the Western world where everything is told to the audience clearly, Noh players tell their tale through subtle actions and visual representations. The plays are short with limited dialogue and themes are evoked which will be already familiar to the audience to help them understand the narrative. Bebop similarly shows us different stories but the underlying, growing narrative is not told blatantly. It flows in hints and glimpses into the characters’ lives and often leaves it to us to build two and two together. Fleeting shots, individual dialogues which flash by quickly, are critical to the story. Just like in Noh, if you don’t know what a particular mask represents you won’t know what is going on, Bebop has references scattered in left, right, and centre which you need to know to be able to get the full picture. It evokes familiar images from the world we know to tell the tale of a world unknown to us.

I started this with Julia because she is the mystery woman, the one who needed a lot of thought. After writing multiple pieces from different perspectives, my belief regarding her now, polar opposite to the common belief, is that she was not a “heroine” of the story but was also not just a figment either. She was a very real character, again narrated through glimpses, but ultimately an antagonistic one. Not a posturing cartoon “villain” but a broken woman, one who simply loved the wrong man, struggled with very justified fears, and could not break out of her mental prison to pick a different life. She paid the ultimate price for her choice and is someone worthy of empathy, but definitely not the sweeping, reciprocated romance her relationship with Spike is made out to be. She remained a prisoner to Vicious till the end and Spike was a third party between their damaged, destructive equation, something he realizes and moves on from as well, sometime during the middle of the show. Post that, her existence in the narrative is a mere shadow, a lingering ghost awaiting closure, which is ironic because that is when we finally do see her. When she finally comes in front of the audience, her part in the story is already over.

The other key relationships in Spike’s life follow the themes of friendship and mentorship largely, and are as important to his eventual fate as the romantic ones. I’ve written on them in other places in more detail so won’t delve into them again here.

So what’s remaining? If Julia is out then is still there a romance in the show? Spike and Jet? Spike and Vicious? Not in this version unfortunately but somewhere in a parallel universe I’m sure. There’s beautiful scope for both.

The romance remaining is Spike and Faye, a relationship most people claim is just camaraderie, a sibling equation, or active derision. Faye’s the “easy girl,” the “slut,” not good enough, not wife material etc. The issue is, Bebop was not constructed with these narrow mindsets and neither is its protagonist reflected to be so basic in his fibre. Jackass though he may be at times, Spike is also shown as a deeply spiritual and philosophical individual, a soul more evolved than those around him-empathetic, sincere. He is a man of both discipline and passion and how he loves Faye (because yes the narrative supports this consistently if you just choose to look) is from the same space. It’s not as base or fickle as how she dresses or how she behaves in light of circumstances too big for one individual to handle. His love for her is despite all that and even because of it.

We interpret media as we are but at no point is the character of Spike intended as a “fuckboy,” someone who callously plays around with the feelings of others, or who takes relationships lightly. We can only understand his love story from a space of maturity and balance, the perspective of a man who has seen a lot in a very young life, who has lived more than others, made choices impossible for the best of the best to make, who is intuitive and sensitive and who is, despite his hundred faults, an extraordinary individual. It’s the sheer beauty and genius of this story that it is considered a tale of sweeping romance but the actual romance it depicts lies deeply guarded and disguised within it.

I am writing this after having done a very exhaustive analysis of the entire series many times over, considering as many alternatives as I could think of and discarding most of them, only sticking to that which I was dead sure is supported by the show. But as I said, it’s like Noh. You have to rely on your emotions and intuitions to interpret it. Not everything is spelled out in bold guiding letters like common media. I’ve written Noh plays before -you show only what you absolutely need to.

When asked about the equation between Spike and Faye, Watanabe has said the below. I had not really given this much thought the first time I read it a few years ago, assuming he meant Spike felt some physical attraction to Faye or some such.

DT: You said in your lecture that the characters you relate most to are Mugen and Spike. Care to explain? 
W: First, I’m often shooting people and slashing them up with a sword … It’s a joke. [Laughs] Spike and Mugen aren’t very straightforward in expressing themselves. For example, even if there’s a girl they like standing right in front of them, they don’t pursue her directly – in fact, they do the opposite, they ignore her almost. I think that part is kind of like me. If I was to sum it up, it’s kind of like being a little contradictory or rebellious.

DT: Are you talking about Spike’s relationship with Faye? 
W: Of course. Sometimes I’m asked the question, What does Spike think of Faye?’ I think that actually he likes her quite a bit. But he’s not a very straightforward person so he makes sure he doesn’t show it.

This time around though, this struck me as odd. I realised it goes against Spike’s character to “like” another woman while he is so completely smitten with the love of his life from start to finish. It goes against his honour code and discipline. So when exactly does this happen? The deep-dive into Julia answered part of that question and what I’m writing now answers the rest.

The last scene where Spike leaves to go confront Vicious and Faye tries to stop him happened to be something I saw completely out of context the first time, as a standalone thing because it was on TV and while flipping through channels it happened to catch my eye. I didn’t watch the rest of the episode, tuning out the moment Faye begins firing. I hadn’t seen the full show yet, had no clue what it was about, and just saw that bit. I watched it again when I saw the whole series but in that out-of-context viewing, the sequence struck me as something very deeply charged with unspoken emotions on both ends. It was very clear that while we see him turning his back on her as she shoots her gun, there is something deeper going on within him. When I watched the scene in a flow with the series though, somewhere that effect got muted, again swept up in the larger drama. The moment felt poignant, important, but ultimately insignificant compared to everything larger which I thought at the time was actually going on. But that initial impact still stayed with me and I wondered at it often.

The two women in Spike’s life are both named after songs. Julia is named after the Beatles song of the same name, considered a reference to Yoko Ono. I won’t go further into that since the other pieces on Julia cover these aspects in detail already but basically it’s not a very positive association. Music is critical in Bebop because a lot of it was created basis songs the creative team (especially Watanabe) listened to. There are multiple interviews with the team where this is mentioned.

Faye Valentine’s character was conceived from the song ‘My Funny Valentine’ and this is referenced in the episode of the same name where we begin to get to know her truly. The song talks about a comical lover who is ridiculous in every way but is good for the soul. “My funny Valentine, sweet comic valentine, You make me smile with my heart…Your looks are laughable, unphotographable…Yet you’re my favorite work of art….” “…Is your figure less than Greek? Is your mouth a little weak? When you open it to speak are you smart?…But don’t change a hair for me, not if you care for me. Stay, little Valentine stay…each day is Valentine’s day…” If you are one of those watchers of this show who likes the character of Faye, something in this song is likely to recall her. She doesn’t say the smartest of things, she doesn’t have a lot of finesse ,but we do get to know she has a good heart. Valentine is also an association with love in general.

The song is about a cherished lover who is a bit ditzy, a bit awkward, and ridiculous but who also makes you “smile with your heart.” Basically a wholesome love, someone whom you adore despite their broken parts, someone who makes you truly happy.

In Mish Mash Blues, Faye muses that her personality is likely to drive all the “good” men away. But she doesn’t believe in pretending to be something she is not, in saying things like she actually wants to be a homemaker even though she dresses the way she does etc. She mentions that the right man, unfortunate enough to end up with her, will accept her as she is. This is very reminiscent of the line “don’t change a hair for me” in the song ‘My Funny Valentine’ and always feels to me like a deliberate reference to Spike. Many shonen/seinen Anime tend to create a will they/won’t they situation around their main romantic leads and will rarely show anything clearly happening, just situations where feelings are hinted or things “almost happen” and Bebop is no different. If you watch it expecting the obvious depictions of romance characteristic of Hollywood films, you’ll miss out this entire arc.

The first time Spike meets Faye, we see him instantly and surprisingly openly enamoured by her. He definitely does not seem to have any intentions to act on it since we see him take his poker chip as a “memento” and walk away but he seems very attracted to her. It does feel a bit strange because, although we have seen him interact with only one other woman till now in the series, if you are coming back to rewatch the show you realise he is actually not shown behaving this way with anyone else ever again. Spike is emotionally unavailable and hung onto his “lost” lover at this point, but the episode goes out of the way to establish how fixated he gets on Faye when he first sees her. Part of it may be amusement at her cheating but not all the shots correspond to just this. The fourth image in the ones below always gives me a sense he sees something deeper in her, something sad or painful behind her external shell, and he is pondering it, trying to figure her out.

I was unsure initially if we are supposed to take this as a “love at first sight” thing or that lonely Spike just walks around like a creep playing Blackjack with women because that’s the max he can do.

Yeah…I’m gonna go with the creep option…Hehe

The story of Spike and Faye is told on a very subtle plane, depicted by the choices to show one thing versus another or to not show a particular thing except in the context of these two characters. For instance, if we were shown multiple sequences of Spike becoming enamoured by random women he keeps meeting, we as the audience would get used to it and take it as a part of who he is. But we are not shown that ever again except for this sequence. Even in the movie when he meets Elektra and jokes about going on a date with her, it’s casual and playful, we get a sense he is doing it just to goad her. We do not see him sitting staring dreamily at her.

So, once you are familiar with the series, this is a moment which does stick out as an anomaly. This is not characteristic of Spike at all. Something is happening here which does not happen as a norm in the series and perhaps we are to understand he himself is not aware of it. Of course, he doesn’t know Faye at all at this point, but the narrative does seem to want us to understand that something draws him to her during that first encounter. Faye is not particularly focused on him at this point, thinking simply that he is the target from the job she needs to run for Gordon. Based on the rest of the instances in their story I do feel retrospectively that, despite everything that happens from this point on, something in Spike never lets go of this initial feeling.

Of course, all hell breaks loose soon enough in characteristic Bebop fashion and, along with Jet, he ends up trying to cart Faye off to the police. As the episode progresses and she breaks out of the ship, his response to her is one of amusement and even a hint of admiration as she blows up Gordon’s ship and manages to escape. At the end of the episode, we see him smiling back in amusement at the memory of the strange cheating dealer he met. Of course, all of this part is kind of in alignment with the ‘Bounty of the Day’ format they follow but it goes a bit beyond.

When Faye finally does move in with them we see Spike all manners of comically unhappy but he seems simply way too bothered about her moving in for us to buy the act completely. He is a “contradictory” character and if something does not get to him he will simply not respond to it. Throughout the series, the moment you see him going out of the way to do something which seems out of place at the moment, be rest assured it has something to do with Faye. In fact, the whole reputation his character has earned over time of being ‘reckless and endangering himself just for fun’ is in a large part because of things he does to protect Faye. I’ll draw out this pattern as we go.

However, whatever feelings are there in Spike at this point, he seems to not acknowledge them or be unaware of them. He already has an unresolved commitment from his past and his fealty is to the woman he feels is still holding a torch for him. The feelings also don’t run as deep right now as they eventually will. It will be a while still before he reaches the point of acknowledging them.

The next few episodes work to show two sides of Faye-the first as a contributing member of the ship, or “soldier Faye” as I like to call her, a sincere and capable individual, seeking out bounties along with Spike, and the second as an opportunistic, bitchy woman. But, we do see her earning her credibility with the boys and with the audience as well. She gets on the guys’ nerves and has a fairly antagonistic relationship with Ein due to her programming of needing to look out for herself but still becomes a staple part of the crew.

The first time when the ongoing connection between Spike and Faye is set up is during ‘Ballad of Fallen Angels.’ Through the course of the story, Faye ends up being the only one in the Bebop crew who gets directly embroiled in Spike’s past. She knows both sides of him, unlike anyone else on either ends. Through her own recklessness, she is kidnapped by Vicious in this episode and gets to see first-hand who Spike turns into when he meets his rival.

There is also a certain similarity established in this episode between how Faye and Spike approach the possibility of death. When Jet and Spike receive the call where she is a hostage and she needs to inform them she will be killed if they don’t rescue her, we don’t see her particularly fazed. She informs them this as if reading the dinner menu at a restaurant.

In the sequence during the church as well we don’t see her exhibiting any fear except for concern about what is happening to Spike, which is a natural reaction. She goes along with what is going on around her, runs out pretty practically without trying to get in the way of the fight, and calls Jet. It does help create a sense of uniqueness to her character. We already know she’s no stranger to being in tough spots but her coolness in handling all this chaos does make you start getting a sense there is more to her than strictly meets the eye. She complements Spike’s single-minded, dramatic passion and fury in the sequence with her comic indignation at being shot at in the literal middle of a raging gun fight and her rational response to the situation.

Toward the end of the episode, Spike wakes up from the dream of Julia humming while he lies injured, to find Faye doing exactly the same thing. He seems irritated at that and goes out of his way to insult her, contrasting to what we have just seen with Julia, where he had asked her to sing for him in the exact same situation.

Faye is not shown singing off-key in the sequence, not really. Spike seems to say it because the scene feels like his mind makes some sort of connection between the scenario he was dreaming of and the one he wakes up to and he is not ready to give her that place in his life yet. What happened with Julia left him badly hurt and seeing Faye in the exact same space puts him both on the defensive against being similarly hurt by her if he allows her a chance to get close to him or of ending up with her hurt and displaced due to association with him as he believes Julia to be at the moment.

We are given the sense that seeing her there strikes something in him so he goes out of his way to insult her. If a person is indifferent to another, they would not be bothered by such a situation and would likely just ignore it, but the narrative specifically built this sequence, to show a deflective action from him. Which means Faye holds some significance for him by this point even though all we have seen of her is an insufferable woman. So perhaps the creepy staring at the Blackjack table is not something he does with every pretty dealer. Perhaps we are to understand it is one of those things where you are drawn to someone but really can’t explain why.

There are sequences throughout the series which I like to refer to as “deflections” practiced by both Spike and Faye. They are shown again and again hiding the real intention behind an act by trying to club it under something else like anger, ridicule, a thirst for adventure, or something equally random. Jet does it on occasion too but with these two most interactions between them take place this way.

In the same episode, both Spike and Faye are seen picking up the same playing card through chance. Jet drops it in Faye’s case and she picks it up while in Spike’s case it lands on his head after she smacks him with a pillow. This card is the Ace of Spades, also known as the ‘Death Card’. I have read this being interpreted as death in Spike’s future, just as Faye has had a brush with death in the episode either at Vicious’ hands or because she witnessed dead Mao. I take it to be a bit more significant than that.

For starters, showing this is reminiscent of the fact that both have been “dealt a similar card” by fate since they each receive these cards by accident and not through any actions of their own. Both of them started a brand new life three years ago in circumstances completely unfamiliar to them and their journeys have converged now. Both have unresolved issues with their pasts and are also very similar as individuals.

It seems to also indicate that through “being dealt a similar hand” their lives will now be intertwined along a similar path, which we also see happening as both end up getting more involved in each other’s lives than anyone else, getting direct insight into aspects of the other individual unknown to anyone but them. I believe it also holds another meaning. In card readings, while the Ace of Spades is known as the Death Card, it does not interpret to the demise of whoever receives the reading. Rather, it points at the ending of something and a new beginning. So these two characters receiving the same card in the episode may also indicate that both are to put an end to their previous broken lives and baggage and find something new together and that’s the path the story seems to take too in my view.

So far in the narrative, the only one of the two whom we have seen giving any kind of special attention to the other, even if heavily disguised as something else, is Spike. However, we do see a change in that from the next episode. Perhaps fascinated by what she saw in the church or by just general laws of attraction, when Spike goes off to kill Wenn, we see the first traces of Faye developing a concern toward him. They insult each other as he is leaving but we see her in the next frame, watching him fly off through the Bebop’s window. True to character, she makes a comment about men being idiots but we know it’s her way of masking the fact that she is feeling concern for him, just deflection.

By episode seven things seem to have fallen into a rhythm as we see both work together to save VT, and their own collective lives. There’s a lot of beauty in the fact that this episode is about a married couple VT and Terpsichore and the series goes out of the way to show some fairly domestic sequences between Spike and Faye, her in a face mask, him doing laundry, bickering with each other like the proverbial “old married couple.” Subtle imagery and visual cues is how Bebop does a significant part of its storytelling so the intentional depiction of the tale of two young bounty hunters, skilled in deflection when it comes to the other, just getting to know each other and building a rhythm to their equation, juxtaposed against the nostalgia of Victoria holding on to the fond memory of her bounty hunter husband, deflecting her loss through claiming to hate all bounty hunters feels meaningful. Isn’t that exactly the kind of emotionally stunted thing you can imagine Spike or Faye doing?

It’s like the future and the past running in parallel with subtle recalls to Spike’s story of the two cats told later in the series which talks about the loss of a beloved partner post a long togetherness and commitment. It’s notable therefore that this episode also features Xeros the cat who takes an immediate liking to Spike.

The equation between Spike and Faye is developed in the manner of two extremely thick-headed children who are at each other’s throats the entire time. This is a personality aspect of Spike which is shown very unique to his equation with Faye. The show builds a marked contrast with who he is on the Bebop versus who he becomes when he goes to deal with his past. He is a more ridiculous version of himself here, more carefree. He is burdened, hunted, and pained when he deals with the past.

His equation with Faye is an extension of this comfort level. Neither is shown to pretend to be something they are not around the other, showing their most pathetic and juvenile sides, giving back as good as they get. We see Spike rely on Faye for backup, trusting her, even as she does the same, but they also insult each other and bicker like an old married couple. That easy camaraderie and the space to be yourself feels to me like the crux of their equation and what eventually endears her to Spike. She can hold her own against him and while backing him up.

Episode eight again sees Spike and Faye team up to successfully catch bounties for a change, entwined with Rocco’s story later. Both episodes have Faye commenting on how she is “not the delicate type” which Spike resonates later in Wild Horses as part of the motif of the show building their similarity with each other. In episode 8 we get to see how well she can handle herself even as a single player as she goes in search for her bounty, but eventually ends up being backup to Spike in a fight, along with Jet.

In episode 9, we see Spike smoothly take over Faye’s bounty mission when it gets too complicated (here’s that example of going out of the way to do something which seems out of place or contradictory to what he wanted to do initially). He wants to sit out that one but, when someone needs to fly to the satellite manually, we see him decide to step in, though she does end up having to back him up eventually when things don’t go as per plan. Jet has given up on the bounty hearing Ed’s complicated instructions and Spike is aware that Faye’s desperation will mean she won’t give up and will end up doing it herself. Both he and we have seen her put herself in dangerous circumstances before for bounties. It feels to me like another deflection, covering up his real motive to protect her by claiming he wants to do it for the adventure.

While prima-facie it is very easy to assume that seeking out dangerous situations is a pastime for Spike’s character, actually he goes out of the way to put himself in danger throughout the series only whenever it is truly needed to protect the people in his life. He is indifferent to death and does not fear it for most of the series but does not go out seeking danger actively just for the heck of it either, contrary to what is a popular belief about this character.

He goes after Vicious in the fifth session but mentions to Jet he does not want to but has to. Vicious is now aware Spike is alive and if he does not go meet him, he will kill Faye and likely come after Jet too. With Wen, Spike knows he has to go kill him since he needs to be stopped. He goes back to meet Pierrot because he catches on that Pierrot is a psychopath who will not stop seeking him. He goes to confront Vicious at the end because there was no way he could run or hide from him after he had taken over the Syndicate and had that much power behind him. In the context of Faye, he actually does this multiple times throughout the series. Him stepping in here to take over a dangerous stunt for something he was not even interested in is nothing other than trying to protect Faye. I don’t think he admits it to himself at this point of the show either.

Faye continues to remain insufferable in parts still, getting excited when Ed is ok letting go of her share of the bounty, and making fake promises to her. We do eventually realise during the series that it’s her misguided way of trying to stay ahead of the game. Similarly, I feel we are to understand Spike is aware of Faye as an individual more than he lets on. He sees the ridiculous aspects of her but also knows she has more to offer. In Toys in the Attic he shows awareness of her adeptness at cheating and preferred methods, something Jet is clueless on, leading to him ignoring Spike’s advice to not play against her. All her idiosyncracies are largely harmless and seem to amuse Spike, giving him fodder to poke fun at her. At this point, she is the funny, potential, but not-quite, valentine.

In Ganymede Elegy, he tells her she is wrong if she thinks all women are like her and there is a scene later in the episode with very subtle sexual tension as we see Faye sunbathing out on the deck, directly in line of sight of the swordfish which he has brought out. There is a pause for a bit and then the Swordfish flies right over her with a lot of force, ruffling her hair. Now, this would happen either way since she is lying directly in its flight path but the scene seems set up to hold subtle hints of a building tension and dynamic, the flying off being feigned disinterest on Spike’s part at this point. I also feel like this sequence is from a movie or something but can’t place it.

This sequence also has the motif of a caught fish escaping, shown through Ed, which is replicated later at the beginning of Speak Like a Child through Spike, when Faye loses at the races. That also reinforces the idea for me that this sequence is intended as her setting a bait to entice him which he does not take.

I don’t think there is a point where Spike is not attracted to Faye but he chooses to push that down because that’s how he is shown and since, during the first part of the show, he is still hung up on his lost love. At this point, the dynamic here is of confused attraction with one person being emotionally unavailable, leaving the other a bit baffled. For Spike, he does not know if his lost girlfriend is ever coming back to him and having a woman around whom he is attracted to might create a confusing situation. For Faye, unaware of his situation, and feeling something for this individual which seems unrequited, would be extremely confusing as well. She has had a difficult time of things since she woke up in her new life and something like this would not be easy to deal with for someone already in a lot of emotional pain (which we are yet unaware of as viewers at this point in the story).

I believe what we are told makes Faye begin to feel something for Spike is likely comfort, safety, and proximity since the change is depicted in the episode just after ‘Ballad of Fallen Angels.’ Whether he goes to rescue her or not is immaterial but the scene of her watching his departure in ‘Sympathy for the Devil’ with highly suppressed and deflected concern is the first time we see any signs of emotions from her. So perhaps to her the act of him bothering to rescue her is a change in pace from what she is used to from men which flips some switch in her.

She is shown as a woman who has likely never had men in her life she could rely on, or who were not trying to take advantage of her. Her entire persona is built on not being able to trust and dressing to just disarm men. But here she is. We are shown consistently that she ends up spending more time with Spike than Jet as they work together on the field. They are also very similar individuals in multiple ways and we are shown that again and again as well (I’ll come to that). There is definitely an element of physical attraction but more than that I feel her feelings develop from the comfort of being able to rely on someone for a change, bickering with him, being able to act herself rather than some seductive persona to manipulate him, stability which she has never had before. And that’s probably what causes her emotional overload in Jupiter Jazz.

For more Cowboy Bebop Essays, please click here

This is a part of my “Alternate Take” on Bebop, basically a relook at the same series but from a different perspective. You can click here for background on that. This is a four-part series on the relationship of Spike and Faye across the entire series. The others can be accessed below:

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22 thoughts on “Spike and Faye: Strangers in the Night”

  1. Yes!! Even I hadn’t put together that his reckless nature was so often in response to a subtle attempt to protect Faye

  2. Er that sentence is all sorts of mangled – ‘in response as a subtle attempt’ is what I meant to say

    1. Haha! It struck me too as I was going through each episode to break them down into patterns. Hadn’t realised this before. There are 2 more parts to this. It got a bit chatty in the beginning but have tried to stick to less of my own rambling in the others. There’s a lot to go still.

  3. Aah! What is this?? I’ve never seen it broken down like this before and this was all right there…like all along. And yeah true…him dying at the end is all about him losing his beloved but if she was not even the right beloved then that’s agame changing thing.

    1. Yeah pretty much. See as I write I keep really questioning myself but this is all there in the show and it makes sense so I keep writing it. Honestly, there’s a flow to this which happens consistently right to the very end. I’ll share the rest today.

  4. Cool article but I have one question. I like Faye and she is a very funny character and her story is also very sad. But I see those scenes with her eating all the food in Mushroom Samba and all that gambling and I am thinking why would someone love her? Why do they show us all that and then Spike is also supposed to love her? Can you answer that maybe? I get it in some way but not fully

    1. Hey there! Actually that’s a very valid question and someone else was asking me the same thing a couple of days back on a chat. Am gonna be covering that on the next instalment of this thing.

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