"Have you ever thought about it? What would happen if...you could ever turn me? You can't, by the way, you couldnt' so..no bad ideas. I'm positive the universe makes Slayer-blood like...demon-infection-resistant-y or something. What ? That sounds like it should be a thing. But did you ever, you know, think about it?" Buffy didn't even know what made her ask. No matter how he answered she was pretty sure it'd make her want to hit him. But the thought had occurred to her a few nights ago, so now they were alone, cozy and lazy on the back porch, she figured why not. Worst comes to worst, could always punch him. Ever thought about it? Bloody wet dreamed about. Emphasis on the bloody. He bit back that answer as soon as it came to the front of his mind. Of course he'd thought about it. When he'd wanted to hurt her. Long ago. Seemed like ages. When he had wanted to hurt her the most he'd thought about it. He knew Slayers before, but Buffy was the first he'd tried to understand. Nice plan, mate. Buffy was strong, yet delicate. Headstrong, but …show more content…
could be uncertain. Steadfast, with sprinkled moments of sincere vulnerability. She was the Slayer. Spike had seen the years it had taken Buffy to not only take up that mantle with duty, but to take it up with pride. Knowing her, understanding her, led him to believe that it was the Buffy in her blood, the Summers, not the Slayer, that would protect her from personally experiencing demonhood. When he'd thought about turning her, it had been to take away her identity. To hurt her the most. To rip away her sense of self. Her sense of Buffy. "It wouldn't be you, love." Was all he offered to her, realizing she'd been leaning against him in silence for more than a few minutes. "You're always the one with the inisisting demons form attachment to their more-human counterparts." Buffy knew she saw the weird human parts of him, sometimes. He had the animal sense of a killer, of a hunter, and he assumed that role with all the pride of a successful predator. But he had a lot of him that functioned almost like a human. His heart, she thought of first. Well, without the exact beating of it. The animal sense of his killer sometimes ran it self raw by emotion. He shed tears, he felt empathy. He felt at all. Buffy had struggled with that, for awhile. But understanding some of that, the weirdness of Spike, made her even more curious about his thoughts of her personality as a vampire. "They can, and they do.
With my luck, if I turned you I'd be all set with your bossy bint ways and none of your sunshine. Come on love, let's step off it. Not gonna happen like that, you know." Pulling his mouth into a small smile at her, he still barely met her eyes. Her eyes. Wouldn't do to have 'em glow yellow. They glow enough as they are. Hazel and full of life. That's all. Buffy was still staring up at his jaw from her position, waiting for him to finish his thoughts. Bossy. "Slayer...pet, in my day dreams, evil day dreams of turning you, it was all from a place of big nasty. How if I did it, I'd finally be able to wrack your nature, dirty your white hat. How deeply satisfying it'd be to have the rats in the Watchers' Council watch a Vamp Slayer turned Vamp. It wouldn't be you, love. It wouldn't be Buffy. My thoughts on it, anyway. Satisfied, yet, love?" He finally looked to her, her face,
well....pale. "God, you were evil. Guess I'm glad you couldn't ever actually out-smart me or out-fight me or out-do me. Could've been gross. I'm pretty sure I don't have the forehead for lumpies." She shook the chill away from her; his answer had been the one she'd asked for, after all. Even if it was kind of sickening in hindsight. Bored Buffy sticks foot in mouth, headline reads. "Oh please, I could at least certainly out-do you, love." His eyes shone proud of that one. "And you'd be one of the vamps who's bark was worse than their bite, I'm almost sure of that. Not enough wicked in you, pet. Not even on your worst morning, after Dawn's finished the juice." Spike watched her color return, her comfort return. Always asking questions you don't want proper answers to. But he'd been honest, and they were fine. She hadn't even punched him, once. Hadn't even put space between their bodies. 'Weird' as she liked to coin him, having her trust him without necessity still felt kind of 'weird,' to him. "You're still a pig, even if you're the less-evil variety. Good. I'm real bad at change." She stuck her pink tongue out at him, and he jokingly chomped his teeth at it, before landing a hard kiss to her mouth. She broke away what he considered all too soon. "Plus, that's not even fair, I'm a Slayer I can't be expected to be a bright-eyed bunny or whatever at breakfast. I don't think we're wired to be morning people." Maybe in his weak moments, he let himself think of forever with her. How that could be...arranged. But he thought of her forbidden from the sun, from her Scoobies, turned against herself as something she might hate, and he forbid it from his mind. Forever with her like that....It wouldn't be her. It wouldn't be her.
My Monologue is on Otis Amber.Otis Amber is 62 years old and is a male he works with crow in a soup kitchen he used to work as a doorman for the Westinghouse he is also a delivery man .He is married to crow and likes to tell jokes on people who pass by the door he is also a delivery man .He likes his aviator hat and crow he hates kids and he hates running.Otis amber is an old scrawny man who lives in the basement of a grocery store.He has a very strange cake. He does not have any friends at all and the only person he really knows is crow.
“Straining his eyes, he saw the lean figure of General Zaroff. Then... everything went dark. Maggie woke up in her bed. “Finally woke up from that nightmare. Man… I miss my brother. Who was that person that my brother wanted to kill?” she looks at the clock and its 9:15am “Crap I’m late for work!” Maggie got in her car and drove to the hospital for work.
In the prologue of Friday Night Lights, by H.G. Bissinger, football team, Panther, has players who have fears/problems to overcome before a important game with their biggest rival the Midland Lee. The main characters include Boobie Miles who had dealt with a tragic accident on his knee the last game he played causing him to get surgery leading him to not play as well as he did before, Jerrod McDougal who knows he can’t make a collage team because of his height, Mike Winchell who lives in poverty with his mother, Ivory Christian who has a love/hate relationship with football, and Brian Chavez who is a gifted football player and student being on top in every class.
Whedon said that he wanted to create a show that would portray women having power and sharing it. While we have Buffy with power, there is not much power being shared within the series. In “What’s My Line? Part 1”, we are introduced to another female character, Kendra, who claims she is the new slayer. Buffy is confused and does not want her around, it appears as if she feels threatened by Kendra’s arrival.In this episode we see Kendra’s quest for legitimacy, to be accepted as the first generation slayer, but is denied because of the threat she poses to Buffy’s identity as the slayer (Wilcox, 90). Throughout most of the episode she insists that Kendra leaves and makes no real effort in getting to know her. Near the end of the second part of the episode, Kendra decides to help Buffy save her vampire boyfriend, in this sequence we see the two slayers working together to save Angel and stop the evil characters. Despite Kendra helping Buffy and her friends, she is still sent away at the end because her staying would still threaten Buffy’s position as the main slayer (What’s My Line? Part
I also don't own the idea, it was requested to me by the wonderful Amanda. Thank you so much! I hope I did this idea justice.
The Boondock Saints movie exhibits and demonstrates many possible causes and reasons for social deviance. One example of this is shown in the Subjective view of deviance through a Constructionist Theory. The Subjectivist believes that a deviant person is a conscious, feeling, thinking subject and that one should understand the experience of that person. From a Constructionist perspective, deviants are actively seeking meanings in the deviant activities. The brothers in the movie are seeking meaning from their killing. They believe that they are on a mission from God, and that they will be protected and blessed for doing this.
Throughout much of recorded human history, people have written tales of the dead returning to life, usually to trouble the living in some way. These traditional myths have progressed from ancient superstitions, to campfire ghost stories, to television shows such as Joss Whedon's Buffy the Vampire Slayer. In the series, vampires are created from the dead victims of other vampires (as long as a certain rite is performed during the victim's death). After a time they rise from their graves and immediately seek to kill and drink the blood of the living. Creatures such as these are, as Lacan [give first name when you first mention someone] describes them, "between the two deaths" and live again only to fulfill insistent, mechanical drive. This drive, often centered on killing, vengeance, or some other quest for closure, is distinct from desire in that it is not "caught up in dialectical trickery" (Zizek 21). According to Zizek [ditto], normal desires are not always what they seem, for when we desire something, we may be seeking something else entirely (21). Most of the vampires in Buffy the Vampire Slayer fit Lacan's profile of between the two deaths, and, as one might expect, they are antagonists to the protector of the living, Buffy. However, in the musical episode "Once More, with Feeling," Whedon explores two protagonists who are also between the two deaths, each struggling to revert back to their prior state of being, but both in a different situation. One of these characters, Spike, once fit the archetype of the vampire, but now faces difficulty as he is forced to cope with normal dialectical desire in order to exist in the civilized, symbolic world. The other, Buffy, fulfilled the death drive when she sa...
According to Elaine Showalter, sexually and socially subversive themes feature strongly in periods of cultural insecurity. In addition to the century that separates Buffy from the Count, there has been a plethora of vampire movies and books of various merits. As a result, the late-twentieth-century average spectator knows the basic facts of vampirism. Therefore, the creators of Buffy the Vampire Slayer need to challenge their audience through another aspect of the series. Turning to their advantage what might have been a serious hindrance, they adopt a self-reflexive ironic perspective on the genre. This tenuous but innovative tension between borrowing from the tenets of the Gothic and moving away from them is especially appreciable when one evaluates the Watcher, Giles. Giles embodies both the principles of continuity and daring innovation that characterise the series and contribute to its appeal.
Blasingame, James, Kathleen Deakin, and Laura Walsh. Stephenie Meyer: In the Twilight. Lanham: Scarecrow Press, 2012. Print.
This queer reading of Buffy the Vampire Slayer investigates the disguised homo-erotic tensions between the out lesbian characters in the series. It avoids an elaborate search for homoerotic and non-normative sexual couplings between other characters in the series. If I were to do such a queer reading, I would probably concentrate on the Willow and Buffy (Sarah Michelle Gellar), or Faith (Eliza Dushku) and Buffy relationships as Farah Medlesohn has done in her essay, "Surpassing the Love of Vampires"(2002: 45-60). Alternatively, I might focus on the sadomasochistic relationship between Spike (James Marsters) and Buffy, or the bizarre love triangle between Andrew, Warren and Jonathan in Season Six. Instead, this paper is more concerned with analysing the blatant representations of lesbian desire and sexuality as they are constructed through characterisation, metaphors, narrative and stylistic devices in particular episodes of Buffy the Vampire Slayer to consider how these themes have been integrated into a youth-orientated, television program.
Buffy The Vampire Slayer has broken many barriers in its seven-year stint, creating new genres and enabling innovation in a previously barren area of television. The largest leap the show has taken though, has been in the way it has embraced its fandom, creating a symbiotic relationship between Buffy the show and Buffy the fanfiction. Not only does Buffy fanfiction seize upon unexplored areas and inconsistencies inherent in the text, these forays are often paid homage to by the show, and in some cases, even made part of the canon itself. Ideas and fantasies created by the fans can impact upon the show in a way that has never been seen before.
The episode “Hush” from the series Buffy the Vampire Slayer does an excellent job of portraying the theme of ‘Language’, both the limitations of spoken language as well as the benefits. In the episode the characters in the town of Sunnydale have their voices stolen by fairytale monsters called “The Gentlemen”. Buffy and her friends must not only find a way to defeat The Gentlemen, but do so without being able to communicate with one another verbally. Though this episode is without verbal dialogue sound for about half of the episodes length, sound remains an important factor in portraying the plot and the episodes theme. The director uses varying sound techniques to portray different ideas in the episode. In some scenes the director relies heavily
In numerous interviews, creator Joss Whedon has explained that the inspiration for Buffy the Vampire Slayer struck while he was watching horror films and TV shows in which pretty women run away from or get killed by monsters in alleyways. Whedon claims he wanted to give this paradigmatic girl-victim a new role: that of the monster-killing hero. Whedon's explanation of his own artistic inspiration reveals at least two things about him as a film-viewer and maker: first, his description suggests his awareness of the pervasive, archetypal quality of the traditional, mainstream horror film. Second, his description rather coyly fails to account for the more marginal genre of the "slasher film," in which the pretty girl often does kill the monster in the alleyway.
It doesn’t take long for lives to come together or to come apart. Just a few short moments in time, time that is subjective, objective, judging or not judging. Nobody really cares about it. It just happens. It doesn’t take long. It is happening all over the world and no one even notices. No one wants to notice. Because they all have their own secrets that they’ll never tell.
tall as he gazed down upon the bed in which his prey laid. He had a