Angel (1999–2004)
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Spin the Bottle 

Lorne's spell to restore Cordelia's memory makes everyone think they're high school students who have been gathered to hunt a vampire: Angel.


Joss Whedon


Joss Whedon (created by), David Greenwalt (created by) | 1 more credit »

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Episode cast overview:
David Boreanaz ... Angel
Charisma Carpenter ... Cordelia Chase
J. August Richards ... Charles Gunn
Amy Acker ... Winifred Burkle
Vincent Kartheiser ... Connor
Alexis Denisof ... Wesley Wyndam-Pryce
Andy Hallett ... Lorne
Vladimir Kulich ... The Beast
Sven Holmberg Sven Holmberg ... Delivery Guy
Kam Heskin ... Lola


In an attempt to restore Cordelia's memory, Lorne accidentally reverses everyone's memory to making them think they are 17 and on a vampire chase. When they find out Angel is a vampire, everyone sets out to get him. As Cordelia's memory is revived, a demon inside her is awakened. Written by Amy

Plot Summary | Add Synopsis


TV-14 | See all certifications »






Release Date:

10 November 2002 (USA) See more »

Company Credits

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Technical Specs


Sound Mix:




Aspect Ratio:

1.33 : 1
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Did You Know?


Joss Whedon says on the Commentary that the main theme of 'Spin the Bottle' is: "the metaphor of 'I'm different from the rest!' A gay metaphor, or just a metaphor for being adolescent. Which sort of ends up connecting him [Angel] to his son, but: 'I'm different from everybody else, because I'm ... THIS'." See more »


When Connor appeared as a teenager in season 3, it is mentioned that he is sixteen years old, but in "Spin the Bottle," Cordelia says he is 18. It's impossible for him to have aged two years in a span of roughly three months without making another travel between dimensions. See more »


Wesley Wyndam-Pryce: [Walks in while Fred and Lorne are speaking Pylean] Did I miss the spell? Did English go away?
Lorne: No, it's Pylean, crumpet. I said, "I may be prepared to shout a joyful chant."
Fred: And I said, "May your words please the gods."
Lorne: [Cut to Lorne's narration to the audience] OK, first of all, she didn't say, "May your words please the gods," so much as "May you orally please the gods," which is a slight... inflection's very crucial in our-oh, God bless her, it's always nice to hear the mother tongue-as long ...
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References Gone with the Wind (1939) See more »

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User Reviews

How did you stop the tiny men singing?
6 April 2010 | by MisterWhiplashSee all my reviews

This was not only one of the best episodes of Angel, but simply one of the funniest things Joss Whedon ever did (and that says a lot considering Whedon's consistent, naturally uproarious sense of humor). I think they key to the episode, from Whedon's perspective, was to give Angel fans a reminder of who these guys and gals were. At the time Whedon was working on Firefly, so his writing/directing gig on Angel in season four was very limited, so coming on to it during a very dramatic time (Angel/Connor problems, Wesley still unsure of his future as a rogue in relation to Angel or Lila, impending Armageddon by the return of Cordelia) was a special case. At the start of this episode it seems very tense between Wesley, Gunn and Fred. But by giving the whole 'bottle' twist being everyone losing their memory back to before everyone knew everyone else, it adds a great sense of comic irony to the proceedings.

What drives the episode so wonderfully is the dialog and the performances, how the actors show their range past their usual selves (Boreanaz especially makes Angel, aka Liam, into a really wimpy character who constantly hates on the English, i.e. Wesley), and have to face the challenge of what's around them- like an AH DEMON! in Lorne- and themselves really. Whedon gives everyone a chance to shine, and it works completely. In a sense it's a little like a repeat of the episode from Buffy in season 6 when at the height of drama, just before Giles leaves for England, the characters' minds are wiped. Only this time, there's a lot more humor, naturally coming out of reactions and how we already see these characters (Wesley doing his vampire-hunting moves is a riot), and the framework of Lorne doing a one-man-show explaining everything (kind of like in Bob Fosses' Lenny).

I'm not sure if it's quite as daring as Whedon's stand-alone episodes at his best (then again, what can top Hush, Restless and The Body), but if you're looking for the sensibility of humor that Angel can excel at (quips and sarcasm and in-jokes, not to mention cultural hoots), then it's a must-see.

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