#outdated buffy the vampire slayer references

[suratan-zir]

I know it's a very niche joke, but that's the first thing I think of seeing all the headlines and comments like "whoa, is it possible that he is a russian asset? hmmmmmm that's a real head scratcher..."

[incompetentimmortals]

“If the Apocalypse comes, beep me!”

-Crowley (probably)

[hellomynameisbisexual]

Lesbian, gay, bisexual, transexual, queer. While the LGBTQ+ label continues to expand with the increasing awareness of sexual and gender identities, we are not yet seeing this awareness extend to our screens. While we are seeing an uptick in positive, empathetic stories of homosexual characters, those characters whose sexualities are not so neatly black or white (or pink, lavender, and blue), are still depicted as confused, sexually deviant, or greedy – if they are even depicted at all. While a more fluid take on sexuality is trickling into more mainstream media, it is often done so without seeing the need for ‘labels’, ignoring an entire subgroup of the queer community who long to see themselves not only portrayed on screen but portrayed correctly and proudly.

Bisexual Erasure – “A pit stop on the way to homo” – Perpetuating Negative Stereotypes:

The 1990s and 2000s saw a number of new media hit screens that aimed to not only appeal to the queer community but to educate those outside of it as well. Joss Whedon’s landmark show Buffy the Vampire Slayer displayed the first on-screen lesbian kiss, while shows such as Will & Grace and The L Word put gay and lesbian characters to the forefront of serial narratives. While borderline revolutionary for their time, such shows now seem outdated in a time where sexuality is understood to more fluid than simply gay or straight.

Buffy’s Willow Rosenberg came out as gay after her first relationship with a woman, discarding that she had a strong emotional and physical connection to her previous boyfriend, Oz, for two and a half seasons. The 2005 drama Brokeback Mountain is often described as a romance between two gay men, similarly dismissing that both Ennis and Jack are married to women towards whom they display attraction. Katherine Mayfair of Desperate Housewives suffered a similar fate, jumping straight to believing she might be gay after her first sexual experience with another woman despite a lifetime of heterosexual relationships, with bisexuality not proffered, or even mentioned, as an option.

While the words bisexual or pansexual were never mentioned in any of these narratives, others discussed it to their detriment. Will Truman, from the now at times dated Will & Grace, referred to pansexuality as “a pit stop on the way to homo”, contributing to the common myth that bisexual or pansexual people are confused or can’t yet admit to themselves that they are gay. Friends works this line into one of Phoebe Buffay’s songs for a laugh; “And then there are bisexuals, but some just say they’re kidding themselves.”

Sex and the City also contributed to negative bisexual and pansexual myths, with Carrie Bradshaw referring to bisexuality as ‘double-dipping’ and ‘greedy’. This is another common stereotype of the bisexual. Returning to Desperate Housewives, in the episode I Know Things Now, bisexual character Peter McMillan ended up cheating on Bree with her teenage son, Andrew. HBO’s True Blood also contained a number of bisexual characters including Eric Northman and Pamela Swynford De Beaufort, whose homosexual scenes were played as kinky or deviant, saving the romance for the heterosexual couples.

“I like hot people!” – is casual sexuality progress?

A more modern approach has been taken in recent years, showing sexuality as more fluid than the rigid homosexual or heterosexual labels. But is this really a step in the right direction? Piper Chapman from Orange is the New Black is shown having serious relationships with both fiancé Larry Broom and ex-girlfriend Alex Vause, without once describing herself as bisexual. The closest we are given is Piper explaining that “I like hot people!” In The Good Place, Eleanor Shellstrop’s attraction to Tahani, Janet and Simone is made clear, but is used only as a comedic landing-place, with Eleanor’s sexuality going undefined and unexplored. While this take on sexuality as a place without labels is refreshing and a step up from the representation of the bisexual as deviant or confused, it leaves the need bisexual and pansexual people have to see themselves on screen unfulfilled.

Even shows that pride themselves on being progressive in their representation of sexuality can be found complicit in bisexual erasure. Fox’s popular musical drama Glee dedicated much of its screen time to Kirk Hummel’s struggles as an openly gay teenager in Ohio and Santana Lopez’s struggles to accept herself as a lesbian, but bisexual character Brittany S. Pierce is denied this same careful treatment and seemed to come to terms with her sexuality remarkably quickly in comparison.

“Letting my bi flag fly” – getting it right

All this isn’t to say that bisexuals are never represented correctly. Brooklyn Nine Nine’s Rosa Diaz, played by bisexual actress Stephenie Beatriz, is not only given a coming-out story – something bisexual and pansexual characters are often denied – but the struggles of her coming to grips with her sexuality are also displayed in full with understanding and tolerance. The brush off of “You’re gay, so it’s not a big deal,” applied to many members of the queer community who do not fit neatly under a homosexual label, is debunked here. Not only is Rosa given a coming-out story at her workplace, which is fielded by her colleagues with grace and acceptance, but she is also given one to her parents, causing a rift between her and her mother when Rosa insists that she has an equal chance of ending up with a woman as with a man.

The CW’s Crazy Ex-Girlfriend features a total of three bisexual characters over the course of its four-season run, most prominently Darryl Whitefeather. After divorcing his wife after a long-term marriage, Darryl is confused when he becomes attracted to White Josh and begins to question if he’s gay. This journey to discovering his bisexuality culminates in the celebratory musical number Getting Bi, the lyrics of which debunk the myth that bisexuals are confused, indecisive, or sexually deviant. It is important to note that this song is also a coming-out story, which is a refreshing change to the idea that coming to terms with being bi or pan is easy or without confusion.

Pansexual characters are also starting to find a name for themselves in mainstream media. Klaus Hargreeves from The Umbrella Academy is most likely pansexual, although once again this comes without explanation or labels, denying the pansexual community visibility on screen. This is not the case in either Sex Education or Schitt’s Creek. Sex Education, which also sees Adam Groff come to terms with his bisexuality, gives Ola Nyman not only a journey of self-discovery with her sexual identity but a journey that culminates in a neatly worked-in definition of pansexuality. Schitt’s Creek takes a more nuanced but by no means less helpful approach with the now-iconic wine bottle analogy. David Rose, who has long since known he is pansexual, describes his sexuality tidily and succinctly as “I like the wine but not the label.”

We’re making progress. We’re increasingly seeing not only a wider range of sexualities and genders enter our content, but we are also seeing LGBTQIA+ characters be more than victims, stereotypes, or defined only by their labels. While it’s important to have such characters in narratives be more than their sexuality, it is equally important to depict these sexualities correctly and visibly. While films and shows may be getting better at giving us the wine, sometimes we do like the labels to be there as well.

[romanticinpanic]

about me

screenname: rom (she/her)

blog content ranges anywhere from shitposting, fandom, history, aesthetic, and studyblr depending on mood

more about me/my interests below, though it may be slightly outdated

(just for reference, unless topical, a good amount of my reblogs are queued)

note: some of these linked tags are empty, this is mostly for organization (also I gave up on linking everything around the inactive fandom section) 

fav (mostly standalone) movies:

the mummy

scream

heathers

romeo + juliet

labyrinth

what we do in the shadows

the winter soldier

empire strikes back

the half of it

howl's moving castle

addams family values (the addams family)

pride and prejudice

childhood disney films (sleeping beauty, mulan, tangled), honorable mention anastasia

fav musical artists:

taylor swift

mitski

lana del rey

blackpink (rosé biased) and a whole lot of other kpop girl groups

and (according to my last.fm) the smiths, phoebe bridgers, hole, the beach boys, the shangri-las & tv girl

fandoms i consider myself active in (and what i like in them):

star wars (leia, hanleia, love OT, like PT, for the most part like to pretends ST doesn’t exists)

doctor who (rose tyler, RTD era mostly, doctorrose)

PJO (percabeth)

marvel (jean grey, gwen stacy, jott, romanogers, xmen/x-men/x men)

batfamily/dc (dick grayson, poison ivy, dickbabs leaning)

buffy the vampire slayer (drusilla, spuffy [in AUs, not in pure canon])

top gun (a guilty pleasure of mine, icemav)

wwe/pro-wrestling (Kairi [Sane], Asuka, AJ Lee, Judgement Day)

fandoms i’m either inactive in or no longer a part of (but formerly obsessed):

total drama (aleheather, au duncney)

taskmaster

x files

rpdr

yellowjackets

sailor moon

streamers (nihachu, technoblade, RT game, OTV & friends, in the past dsmp)

harry potter (hermione, dramione [in AUs, not in pure canon])

figure skating (evgenia medvedeva, alysa liu)

american horror story

A:TLA (katara, zutara, jinora)

sherlock (molly hooper, sherlolly)

musicals (hamilton, heathers, poto & more [I was in middle school ok! Cut me some slack])

ya fiction

other random obsessions:

empress sisi/sissi

ophelia

Misc folklore & mythology

history

historical fashion

ballet

time periods (for history content)

ancient times

20th century

1920s

1930s

1940s

1950s

1960s

1970s

1980s

1990s

90s

00s

misc tags i use that haven’t found their way in above

prev tags

quotes

paintings

long post

other accts

ao3: @romanticinpanic

elysian fields: @amina

there are some things i don’t like, but so long as you’ll tag them correctly i won’t interact with them. honestly as long as you’re not toxic/in denial, i’m pretty up for anything (which i know is such a vague description, but it’s hard to out of context create some all encompassing distinction of what is in good fun and what just worsens an online community)

[prose-for-hire]

How btvs characters would celebrate their s/o’s Birthday:

Characters include: Buffy; Spike; Angel; Giles; Cordelia; Oz; Willow; Tara; Xander; Anya; Riley and Faith

A/N: This is completely self-indulgent – it’s my Birthday! Yay !! There’s a few tiny sex references in these hcs but it’s mostly just up to interpretation I think 💖🖤

[Under the cut cos it’s quite long - I got excited !! 💖]

Buffy Summers:

- She would have a plan

- The plan may not exactly work out exactly how she wanted it to

- But either way it would be perfect to you

- She would plan a surprise party at the Bronze

- She would make sure everyone kept quiet

- (she wouldn’t even tell Dawn there was a party)

- She would want you at the centre of attention

- National y/n day

- she worried you usually would fade into the background cos she always has some slayer stuff to do

- she just wanted one moment where she could show you how much you mean to her

- she was very secretive, but you honestly hadn’t expected anything

- You were just happy to be hers so the fact she was doing this was secondary to your love

- It was T-ten minutes until you were about to walk through that door and who appears?

- A vampire, of course.

- Buffy scowled, storming up to the demon and screamed in his face that he had just ruined a month of planning

- He put his hands up in mock-surrender before dropping it and saying the fight didn’t stop for anyone

- Buffy traded blows and managed to stake the vampire (it was her PB time too)

- But this had all happened… Just as you walked in

- You coughed, spluttering slightly at the dust but you were quickly distracted by everyone’s shouts of ‘Happy Birthday!’

- You smiled, dusting yourself off and wrapping your arms around Buffy

- She looked a bit upset about the dust but you told her it was perfect

- It was the way you both lived and she had managed to do all of this with only a minor attack

- You loved it, all of your friends were there and you got presents and great live music

- She had gotten everything so right

- You danced and had the best time, feeling so loved with your girlfriend by your side

Spike:

- he would have remembered a week in advance

- Mostly cos he overheard you saying it to someone

- He didn’t forget he just wasn’t used to celebrating birthdays

- But of course once he realised he was trying to pull together some kind of plan

- (Although he’s not great at plans, evil plots or birthdays bless)

- He wanted to show you how much he loved you

- But nothing seemed enough

- He made Dawn and some of your more agreeable friends brainstorm with him

- Over what you would like

- Dawn insisted on a party so he just nodded

- The day came and he gave you your gift

- It was so meaningful

- And he even wrote a little bit of poetry

- Almost snatched it from you and tore it up as you read it

- But you gushed over it and absolutely adored it

- So he grinned and you embraced

- Then It was party time! at the Bronze

- He put his good shirt on and took your hand and lead you inside

- Very affectionate, always with a hand on you

- An arm around you, whispers and kisses

- Barely left your side

- So much so that it might as well have just been the two of you

- You had loads of fun with the Scoobies, dancing and laughing

- But as soon as Spike gestured with his head you nodded

- Took his hand and you both skipped the rest of the party

- Knowing the night was young and there would be plenty more celebrations to be had in the crypt

Anya:

- She would be giddy

- She would have such grand, sometimes outlandish plans

- Some too grand to actually be able to pull off

- She wouldn’t be able to keep any secret

- She’s very clingy and involved with a s/o

- So would want it all to be everything you loved

- Would glow if you said all you needed was her

- Absolutely would gush and throw her arms around you

- With that adorable excited smile

- She would plan a big day out

- She’s very adventurous in all aspects of her life

- She would decide on something you would love

- Maybe settle for the beach or she may ask what you would prefer

- Would insist on paying for everything

- The entire day

- If you express surprise at her spending so easily

- She will scrunch up her nose and tell you of course she would spend money on you

- Happily so

- The reason she wants to make more is so that you and her can be comfortable

- Together, just the two of you

- She would choose a really great gift

- It would be wrapped to perfection

- So nicely you wouldn’t want to unwrap it – it was a gift in itself

- You would drive to your destination and she would hold your hand as you walked around

- She may complain a little if it’s a lot of walking

- But she would definitely be enjoying herself

- Would whisper sweet things in your ear

- And you would find a cute little place to have a meal

- It would be very intimate

-  And so very soft

- Both of you would cherish the memory of this birthday for years to come

Angel:

- Would be really anxious about getting it right

- You deserve everything to go right

- Wants you to enjoy yourself, to do something you would truly enjoy

- Would be bugging people asking for advice

- Which isn’t like him to initiate conversation

- Especially not with Xander

- But he wanted it to be exactly what you like

- Not outdated or boring

- Just perfect

-  And to do that he had to recruit your friends opinions

- Which were contradictory and at times he decided they were making fun of him

- (they thought he wouldn’t know any better)

- But despite all of this he planned the perfect evening

-  Some was a little old fashioned

- Probably a sit down meal

-  He would have cooked himself

-  All of your favourites, he wouldn’t taste it while he was cooking

- He doesn’t really do human food

- But you wouldn’t even have to pretend it tasted good

- You joked that he was annoyingly good at everything

- He gave you the sweetest most thoughtful gift

- Probably something small but oh so meaningful

- You noticed how nervous he had been leading up to today

- You put your hand over his

- You look at him softly, that way that makes him feel so loved

- So sure that this is real

- telling him that he was all you wanted

- It was a perfect day so long as he was by your side

- He grinned in that way he did, looking down

- Feeling more reassured

- Before reaching for you and scooping you up into the biggest hug

- He pressed some soft kisses against your forehead

- Your cheek

- The rest of your birthday evening spent in bed together

Giles:

- It would be an intimate affair, whatever you were doing

- Just the two of you

- Just exactly how you both like

- All you wanted was him anyway

- You insisted you didn’t want any presents

- Only him

- He was so attentive and adoring anyway

- But a little extra today

- He just wanted to do everything you wanted

- It would be your choice all day long

- You get to make all the decisions

- (if you hate decision-making he will ofc take over cos its your birthday lol)

- He’ll want to treat you through out the day

- Lots of small gifts through the day

- Just everything you adore

- Because you deserve all the sweetest little things

- He will take you in his arms, pressing the sweetest kiss to your forehead

- Whispering how much he loves you

- How much he loves this time of year

- Because it gives him the excuse to show you even more so how much he loves you

- He would bring you breakfast in bed and then the rest would be up to you

- You, of course, just want to spend the day with him

- You reach for him and pull him into you

- He would slide into bed beside you

- You would stay in bed together

- just you and him, cherishing the other

- long into the afternoon

- It’s purely bliss

Cordelia Chase:

- She would have a gift for every day of that week

- You would have a birthday week with her involved

- Showering you with gifts

- Some grand, some little tiny things that she saw and thought of you

- You would literally not doubt her love for you

-  Her dedication

- And this was her way of showing it, you knew that

- She loved your birthday because she could spend time showing you just how much you meant to her

- She would want to have a big party for you

- Make everyone bring lots of gifts for you

- Literally wouldn’t let people in without at least two medium sized presents

- Or one massive present

- But she was open to suggestions

- (although she definitely got caught up in her vision for the day)

- She could definitely enjoy an intimate moment with you as well

- In the afternoon, before the party

- She would give you a main present

- It’s something you mentioned you liked in a store

- Like seven months ago

- And she remembered!

- Because you mean so much to her

- She’ll smile so big when you tell her how much you love it

- She’ll take you to the party, showing you off

- Won’t leave your side

- You’ll dance and sing

- Just soak up the entire evening

- You can’t believe just how lucky you are to have her

Oz:

- Tells you he has a gig on your birthday

- Can’t get out of it

- Really apologetic

- You say you don’t mind

- He offers you to come

- And you smile wide

- Pleased that despite the inconvenience he would want to spend even a brief break between sets with you

- Would have got you the most thoughtful and meaningful present

- He would have listened to everything you had ever expressed interest in

- He’s a really good listener

- And makes it a point of pride that he knows you this well

- So it was the big day and you travelled together to the bar

- He smiled and lead you in

- Everyone shouted and cheered when you arrived

- It was a surprise party

- With all your best friends

- The biggest surprise was that he planned it himself

- That soft smile when he saw how shocked and pleased you were

- He’ll have pulled you into him

- And pressed the softest kiss against your forehead

- He completely doted on you

- Wanted you to have everything

- So much so he felt a little bad for deceiving you

- But your excitement made it all worth it

- His band would actually play

-  A few of your favourite songs

- Or some of the songs that were undoubtedly written about you

- Maybe even a little cheesy happy birthday at the end of their mini-set

- He would come back after that and you would celebrate into the night

- With all your favourite people around you

- Such a perfect day!

Faith:

- She would be a bit embarrassed about how enthusiastic she was

-  About just everything about you really

- She would totally have a plan

- She would just be ridiculously embarrassed about it

- And try to play it off as cool

- Or that it wasn’t a big deal if you didn’t want to

- (she would actually die inside if you would rather do something else)

- But of course you want her

- And you tell her this a lot

- She glows when you do this

- She adores having your attention

- She gets that you are very good to her, you reassure her often

- Look out for her

- So she wants to basically pull out all the stops

- In her own way

- She’s been saving up

- For quite a long time

- Wanted to show you just how much she loves you

- You have reservations at Sunnydale’s fanciest restaurant

- There’s champagne: the works

- You’re confused but you smile at her, holding her hand over the table

- It’s nice that people are having to treat you both with such respect

- But you both bite into your meals and make the same face

-  Of absolute disgust

- The food is overpriced

-  And horrible

- You both look at each other, the same glint in your eye

- You take the bottle and dash for it together

- Laughing and eventually slowing

- You stop after a while, sharing the end of the champagne

- And kiss her

- You turn in and find your favourite fast food joint instead

- You’re both just on such a high

- Probably the best birthday ever

-  It felt like it was just you and her

Riley:

- He had precise plans

-  Well-thought out in advance

- You truly are the most important to him

- Plan was conducted with army-style accuracy

- So that you could have the best day

- He set up a little scavenger hunt

- Only small but so very cute and meaningful

- All around town

- With love notes and little gifts along the way

- It was truly the sweetest thing

- It melted your heart

- And his little puppy-dog look

- Of enthusiasm and excitement when you find the next clue

- Almost more excited than you

- It’s completely adorable

- You wrap your arms around him and cuddle into him

- Smiling wide when he wraps his arms around you

- Whispering how much he loves you

- Wants you to enjoy yourself

- Just have one day where there was no danger

- Nothing except happiness for you

- It means a lot

- At the end, there’s a gift waiting for you

-  One that looks as if it was made for you

- He just knows you inside out

- You’ve arrived at your favourite restaurant

- It was the one that you had your first date in

- He just wants everything to be special

- And about you

- He’s managed to swing reservations and in the same spot by the window

- Because you always say you want to go back

- He only wants the very best for you

- You hold hands and slide your chair so that you get to sit closer to him

- Laying lots of affection on him

- Which he insists isn’t fair cos it’s your birthday

- He’s honestly the sweetest

- He makes your heart melt

Tara:

- Such a sweetheart with you

- Like completely in tune with the kind of day you’d love

- Wants it to truly be all about you

- She would make you your favourite breakfast

- If you woke up and came to see what she was doing

- She would cuddle up to you from behind

- Such a soft smile

- As she wishes you a happy birthday

- Pressing kisses against you

- She’s more excited than you for the day

- Absolutely adores you

- The gift she got you would be so meaningful

- Like completely what you want/needed

- Near knows your mind better than you

- She knows how much your friends mean to you

- Wants you to be happy

- Completely in tune with you

- And what you enjoy

- So she plans a lovely party at the bronze

- With all of your favourite people

- She’s right there with you

- Makes sure to buy you your favourite drinks

- You and your friends have such a great time

- Tara makes sure that it’s all about you

- She makes sure that everyone’s happy

- And that there’s no drama

- Or demons

- (and if any demons do crash, she makes sure that you don’t notice)

- Buffy nods and takes it outside

- She manages to swing your favourite band

- To come and play at the Bronze

- You squeal with excitement (internally lol if you’re not that way out)

- And they dedicate your very favourite song to you

- For your birthday

- You and Tara would dance together and have the best time

- It would be so much fun

- You tell her just how much you appreciate her

- She’s a complete sweetheart

- And you always feel cherished by her

- Like everyday, but especially now

- With all of this love surrounding you

Xander Harris:

- He would want to do something romantic

- Meaningful

- You deserved it

- And he was sure he didn’t treat you as good as you deserved

- Despite you being so incredibly happy with him

- He would tell you that there were plans

- So that you didn’t make any of your own

- But wouldn’t give you anything other than a vague direction

- On what type of clothing to wear

- (something warm but cute like you)

- I’m sure he would take every opportunity to kiss you

- And shower you with as much physical affection as possible

- Throughout the day

- In fact would probably claim the entire week in your honour

- Maybe even the month in his goofy enthusiasm

- Would actually have a present sorted well in advance

- He has an (unfounded in his opinion) reputation for forgetting or not putting so much thought into his gifts

- But he has worked to turn this stereotype around

- Especially so for you

- Very thoughtful with his gifts

- Will most likely have made it himself

- It’s perfect and you tell him this

- Between kisses

- He would then lead you to

- Would blindfold you but you absolutely trusted him

- And you open your eyes and find yourself at a movie theatre

- It’s lovely but you squint and look at him a little confused

- He smiles in that soft way and shows you

- The entire theatre is reserved for you

- Just you and him

- And all the snacks you need

- (he used to work with the guy that manages the cinema and he owes him one)

- They’re showing something you’ve been dying to see

- And you hold his hand, leaning against him

- When you’re ready to leave he shakes his head, pressing a kiss against you

- They’re showing a marathon

- Of some of your all-time favourites

- It was so thoughtful and so entirely perfect for the both of you

Willow:

- Honestly so excited for your birthday

- Basically vibrating with how excited she is

- She really loves you

- And has a bunch of sweet gestures and plans

- Up her sleeve

- Just wants everything to be about you

- You spend the morning in bed, mostly relaxing

- Snuggling and soft kisses against you

- She’ll whisper happy birthday

- And immediately pass you a little gift

- She couldn’t wait any longer

- Bright eyes and a brighter smile

- Widens with yours as you see the sweetest gift

- Absolutely perfect for you

- You wrap your arms around her and stay like that

- For a long while

- Just basking in how much you love each other

- How much you just truly get each other

- Eventually she managed to coax you out of bed

- She snaps her fingers twice and you give her a confused look

- But you soon understand

- She’s decorated the entire house

- Just to your taste too

- Very sweet and all for you

- She took a really long time perfecting the spell

- You get ready, she bought you that outfit you said you liked

- That happened to be perfect for a party

- You both dress nice and go downstairs

- To see all of your friends waiting

- The music starts and your favourite people are all around

- You have a really great time celebrating

- And you can see just how much effort she’s put in

- She’s so sweet with you, brings the fun out

- Makes you so happy

- The day is just perfect

- She baked too, a cake (or the alternative that she knew you would like lol)

- She spent so much time on it, just for you

- The party was so fun everyone ended up staying over

- You and Willow cuddle up on the sofa, whispering long into the night

[xenophanatic]

In Depth Analysis of ‘Skam’: Belonging with Realism

There seems to be universal acceptance that the mere suggestion that a television drama is marketed towards a teenage audience, or is beloved by teens, reduces the creditability and artistic merit of the television show. In popular culture, media aimed to teens – and especially female teens – has been seen a childish, low brow content filled with bad acting, bad writing that contains illogical plots and superficial – as it contains beautiful twenty-somethings playing sixteen years old teens. This opinion could be due to that fact that scholarly critics are not the ‘intended audience’, but it is argued the reason may be that teen dramas, with their ‘ludicrous’ plots, separate themselves from ‘reality’ for entertainment purposes, which thereby alienates the ‘rational’ mind-frame of the critic. By detaching itself from realism, teen dramas, as a genre, seem to be seen as superficially candy floss – bright ostentatious sugar-inducing fluff with no core-essence nor nutritionally substantial properties. It is argued that teen dramas have the ability to be more than superficially candy floss. The following essay will analyse the Norwegian teen drama Skam and how it strives to represent teenagers in a genuine and realistic way by its use of extensive research, authentic acting and location, and digital storytelling. Through it’s creating, making, and releasing of the series, Skam invites critical television evaluation while also exploring the crucial element of emotional growth and belonging that are needed for an ideal teen drama.

Teen Dramas – in common discourse

Though, in the past, it may be prevalent that there was a separation between film criticism and television criticism – film being seen as more worthy of art criticism – there is distinct quality hierarchy of televisional texts. With acclaimed serialised dramas focusing on a male protagonist/anti-hero, mainly broadcasted on subscriber based service, being deemed worthy of evaluations, soap operas, reality tv, and teen dramas on network television are seen as below par. Television dramas that are focused on teenagers are seen as cringe-worthy or a part of pop-culture that should be mocked and not taken seriously. Kevin Williams who was, during the 90s, applauded for his work on the horror film Scream – having teens conversing in the metalanguage of film – was also reprimanded for creating the hit television show Dawson Creek – having teens conversing in the metalanguage of film. Dawson Creek was seen as a teen soap opera that was filled with sex, drama, and love-triangles, that didn’t merit the opinion of highbrow critics. Similarly, shows such as Gossip Girl, The OC, One Tree Hill, Vampire Diaries, and Riverdale have been – and will continue to – criticised for its writing, directing, and acting. There may be expectation to this prejudice of teen dramas. Buffy – The Vampire Slayer has been praised for its writing and Friday Night Lights was seen as a critic darling. However, it should be noted that Friday Night Lights was overlooked by audiences for its marketing as a ‘teen drama’ and critics have negatively commented on the show when discussing its teen or melodramatic elements. A teen drama should, it is argued, provide an insight to teenage life that is putting a mirror to the teen audience’s life and also reinvigorating the memories of teen life for adult audience. Late teens and early twenties are the years where we are confused, as humans, on where we belong, who we are, and what we want. Therefore, teen dramas, in essence, should provide a realistic representation of teenage years.

Traditional Teen dramas and their rejection of Realism

Though many of the aforementioned teen dramas deal with the melodramatic plots that are all wrapped up in teen angst and served to its audience on a weekly basis – they all encompass a crucial part of any teen drama. The essence of a teen drama, it is argued, is the raw, real, unapologetic emotions. As teens, when we experience love – usually our first experiences – it is all consuming, while as adults; we tend to be more rational and mature. Our hates are world ending – while as adults we either ignore it or deal with it with the right amount of passive aggressiveness. Therefore, when a drama reproduces these realistic and accurate representation of emotions and stories, it excels as an artform. Even if a teen narrative is dealing with murder mysteries or vampires, it excels when it looks at the raw emotions of their characters and the characters’ longing to belong. Teen dramas are a great platform to a realistic representation of growth and exploration of a character’s identity and themes of belonging. This is excellently portrayed in Friday Night Lights with the football players coming to terms with their place in Dillion when they are no longer football players.

Cinematic realism, as infamous critic Bazin states, is the fulfillment of the human craving for realistic representation. Realism, in film theory, is obtain through reflection of reality being reproduces through camera lens. Realism critics who supported realism in film submitted several characteristics that produced cinematic realism, these being use of long takes, deep focus, limited editing, and use of actual locations non-professional. These characteristics are in contrast with what is associated with teen dramas. The cast is often filled with actors who are in their later twenties rather than their late teens, the text is highly stylised, and ludicrous plots are aimed to provide wish-fulfilment and escapism rather than realism. However, Skam rejects these characteristics of the teen drama and instead, not only accepts the theory of realism, innovates what television can do in the 21 century to thoroughly satisfy the human craving for realistic representation. Skam uses traditional realism through extensive research, the use of actual locations, and the use of nonprofessional actors, but innovates by using temporal realism and transmedia storytelling.

 Creating Skam

NRK (Norsk rikskringkasting) is the Norwegian Broadcasting Corporation, similar to British’s BBC and Australia’s ABC. Which means that it is a publicly funded corporation (through tax-payers) and is therefore not a commercial broadcasting corporation, such as the American Broadcasting Corporation (ABC) – which is funded through commercials and advertising, nor a private broadcasting corporation, such as the HBO or Netflix - that are funded through monthly/annual subscriptions. NRK, is therefore, serving citizens, not merely consumers as their audience, thereby having a public duty to uphold. So, when NRK recruited Julie Andem to create a teen drama – it was in order to perform a public service by creating a text that was relevant to the new generation of Norwegian girls. This show not only wanted to represent the Norwegian youth and their issues, but also provides a platform for teens to gain guidance and empathy – a more subtle and nuance PSA.

NRK and Andem’s the new drama concept was set to target the specific needs of 16-year-old Norwegian girls—‘the two years before you turn eighteen, a new time at high school and the pre-adult, sexual age’. Where teen dramas are usually written by 30+ year old writers and produced by 40+ year old executives of networks trying to sound like ‘the teens’ and bring issues that they think teens go through. This can be seen in shows where teens are delivering lines with cringy ‘slang’ or outdated references, and their usage of social media is depicted as obsessive or narcissistic through the lens of a parent rather than an exploration of emotion and identity by the youth. Andem was able to see this distance that she may have with ‘today’s youth’ and believed she couldn’t tell their story, because it was there’s – therefore she needed to hear it from them. This led to an extensive audience research, where Andem and her team orchestrated 50 in-depth interviews with Norwegian teens from all over the country, 200 speed interviews, school visits, social media scanning, and readings of reports and statistic on teen culture. In her interviews Andem talks about the large impact these interviews and research had on her creative process.

Through this extensive audience research a common factor was discovered amongst teens and that was pressure. It was discovered that Norwegian teens experienced a lot of pressure and this became the driving force for the creation of the drama. The team wanted to address and explore this aspect of teen life and even formulated a ‘mission statement’ which defined SKAM’s vision: to ‘help 16-year-old girls to strengthen their self-esteem by breaking taboos, make them aware of interpersonal mechanisms and demonstrate the rewards of confronting fear’ (Furevold-Boland, 2016). So, NRK is interested to provide a public service to the Norwegian youth by clearly representing them and their issues in a realistic and authentic way. They aim to do this through Andem’s creative judgments and extensive research. The team has not gained an understanding of Norwegian teens and the usage and importance of social media, but had also generated a specific target audience and a thesis statement that will run throughout the series. However, this is not the end of their innovated production towards realism.

 Making Skam

The great appeal of Skam, along with many others, is how realistic and genuine the stories and characters feel. This can be attributed to the aforementioned research that the team had conducted which allowed for clear and real depiction of the hardships and struggles that today’s teen face. Another attribution the contributed to the authentic and realistic feel and tone of the show, it is argued, is the inclusion of actual location and age-appropriate non-professional actors. As mentioned earlier, teen shows usually have twenty somethings playing teens. This is usually due to child labour laws in the United States and other countries. This may seem like tiny complaint; ‘This is so unrealistic, that 16-year-old is clearly 21. I can’t believe anything after this’. However, this casting choice not only has an impact on the story, but also on how it affects teens watching the series.

Clinical psychologist, Barbara Greenberg, stated that by casting actors in their 20s in teen dramas have the message to actual teen audiences that this is what a teen is supposed to look like. A person in their 20s is more likely to have a consistent appearance, whereas an adolescent may change more frequently. “Some days they’re thinner, they’re a little heavier, they have pimples, their hair is a little frizzy. It’s all ok,” Greenberg says. So, theses teen actors in a studio high-school don’t share these symptoms of a teen body, it therefore then makes the teen viewer vulnerable to feeling self-conscious and depressed about their appearance. “That leads to all kinds of body-image and social-comparison issues,” Greenberg says. So already we have a disconnect between the actor, the teen character, and the teen audience. This casting choice also has effect on the way stories/plots are presented and viewed. When you have storyline where a child is in sexual relation with an adult and both parties are played by consenting age adults, the story is not as creepy or unsettling as it should be presented, but rather it is seen as ‘forbidden love’ and sexy. For example, in Pretty Little Liar where a 15/16-year-old teen girl is having a relationship with her male teacher, in reality the actors as 21 and 24 respectively. The casting choice not only eliminates the reality of the age difference, through mere contrast that would occur between a teen girl and a male adult, but also normalises that age difference.

So, how does Skam not only differ and but excel? Most of the actors, when shooting the first season were in their teens. A plot point in the first season is that the girls are encourage to hook up 97er boys – as in boys in their high school that were born in 1997. When the female lead states that she has a boyfriend, she is encouraged to dump him because he is a 99er (born in 1999). What is compelling is the actors are of that age – her boyfriend is born in 1999 and the boys that are 97ers are actually born in 1997. This may bot seem crucial, however, watching the series set in a highschool with people that are teens and born in the same year as the teen watching, does have a psychology and subconscious effect that resonates with the audience. 

As mentioned before the show was aimed at specific demographic, therefore it is important to show version of teens that they have seen (classmates, friends, etc.) or are versions of themselves. In teen shows, one often sees the glamourous queen bee in a one-of-a-kind coutour outfit strutting through the halls of her elite high school with her encourage, in coordinating outfits, behind her. However, the audience member watching this exhibit is viewing this on the laptop in their casual tee and sweats on their bed while eating dinner. There is a contrast between the teen on the screen and the teen viewing a representation of themselves – one cannot see themselves as the ‘queen bee’ figure nor can one see this hero figure as a person in the real world. Neorealist filmmakers despised the ‘hero’ figure as they excluded millions and allowed an inferiority complex to resonate with the audience. Realists desired to create inclusion, rather than exclusion, by depicting the ‘everyday’ man, them and others, as the protagonist of life - “to strengthen everyone, and to give everyone the proper awareness of a human being”. This is similar to the thesis the Skam team set up to prove – ‘help 16-year-old girls to strengthen their self-esteem by breaking taboos, make them aware of interpersonal mechanisms and demonstrate the rewards of confronting fear’. Both forms, therefore, asked their actors not to be skilled at acting, but to understand themselves as human beings - asking them not to ‘act’ like an actor, but to react as themselves. A desire to capture the gestures and motions that belonged to this particular person, not one of the many false exaggerations that could be conjured by an actor. This style is evident in Skam as Andem would encourage her actors to play around in the scene and put pieces of them into the character.

In this behind the scenes clip, the actor Tarjei Sandvik Moe is supposed to walk out and see a returning character who the cast has not seen for months. He is supposed be shocked and surprised, but it doesn’t feel authentic. Tarji states that he, as Tarji, would have said something, and Andem is heard behind the camera encourages him to say something then. In the final cut, Isak, Tarjei’s character, says the name of the returning character. This shows the Skam team’s desire to be authentic, realistic, and genuine in their depiction of teen reality. These naturalistic and geniue traits not only make audience see these non-professionals as people behaving like people, rather than glamorised actors acting like fictional characters, but allows for the opportunity for audience to also see themselves in the characters’ flaws and desires. Part of the show’s authenticity comes from its actors: They’re roughly the same age as their characters, have minimal performing experience, and wear little or no makeup to cover their youthful blemishes. We see them with breakouts of acne, similar to millions of teens that grow through this customary process as teenagers. The actors naturalistic look (through minimal makeup) and acting style that one can believe they could encountered a, or many, Isak(s) (or other characters) somewhere in their world.

 Skam is filmed at Hartvig Nissen School. This is not only an actual running established school, but also a school which some of the cast have attended as students. The school is not only used as an exterior, for establishing shots and then filmed in a studio, but also interior – using classrooms, hallways, etc. Character’s apartments and homes are actual locations, rather than stages in studios. Again, this allows for the series and characters to feel real - these are homes, not sets. Therefore, it has been demonstrated how the Skam team’s mission, to obtain and represent the reality of teens, has been executed through the use of research methods and elements of film realism; however, Skam is innovative in their methods and goes beyond what had been used previous in 20th century media/mediums. Skam engages its audience through the medium that they (the audience) is accustom, whist also transforming their (Skam team’s) television media through transmedia storytelling.

Releasing Skam

Obviously, there is an issue many television broadcasting corporations are facing today, which is the abandonment of traditional television viewing. Audiences are now watching on demand and not ‘live-watching’ or schedule watching their television programs. Audiences, as corporations like NRK understand, like not only to be in control of when they view media but how. At the time, NRK was noticing the shift in their audience viewing habits. Therefore, there is no point for the Skam team to conform to traditional television viewing standards to a target demographic that is constantly using on-demand viewing to consume their content. The shift towards on-demand viewing is not new to television networks. Many services are providing on-demand viewing experience through binge-watching episodes. The notion for network to provide episodes online is not innovative, in fact it conforming to the norm. However, Skam chooses not to conform norm or previous conventional methods of television viewing, but instead uses new media and mediums to reach their goal for authenticity and realism. The aim of the research was both to gain in-depth information on Norwegian teens, in order to portray them in a relevant and realistic way, but also to identify and discover how the new online drama concept could serve the needs of this particular audience segment. As previously mentioned, there are several standards that directors and creators used to project reality – whether that be through long takes, deep focus, limited editing, and use of actual locations non-professional. The Skam team stated that, ‘we want to provide popular enlightenment but in a context the audience segment understood and liked’. Skam includes other elements in order to create realism an audience connection to the characters through the use of transmedia narrative and real-time release.

Skam released the scenes to their episodes in real time. For example, if the characters are having a conversation at school, during lunch time, the scene would be dropped at 12:15pm on Monday – with a title card stating the day and time. And if during that conversation they discuss meeting later that day at 9pm, the scene would end and at maybe 9:30pm – again scene is introduced with title card stating time and day – the characters will meet and a character could apologise for being late. This mini-clips and scene would be released throughout the week, without informing the audience when they would be released, with a compilation of the scenes being released to a traditional episode on Sunday. Why is this method not only innovate, but also essential for Skam and its thesis statement? As mentioned previously about the teen who is in their bed wearing a causal tee and sweats on their bed with their laptop and viewing a glamourous queen bee in a one-of-a-kind coutour outfit strutting through the halls of her elite high school – the teen audience is so distant from the image on the screen to their reality. 

Skam, however, closes this distant, not only through non-professional actors and location, but also through real time. The teen audience viewing the clip posted, before going to they go to bed, is watching the character doing the same thing the audience is doing this time of the week. If it is a weekday, the character is in their sweats watching videos while eating their dinner – something the audience is most likely doing. If it is a public holiday, characters are spending time with friends and family – much like the audience is. This creates a sense of temporal realism, reality given to the audience by a shared temporal (time) space. These characters are living and experience life in the same temporal space as the audience. Clips that are released on New Year’s Eve is obviously a great way for the show to demonstrate this – bring in the new year with characters and audience members in a shared temporal space. The show uses real time release in so many ways. For cliffhangers, a character is distress in the last clip and then a clip doesn’t appear for hours/days – what is going on? If a big even was to happen, audiences would wait for the day, and time, like the characters would – both characters are experiencing same anxiety and excitement of the events transpiring. Audiences are waiting for a clip – that they may not know when will come and how long it would be – throughout the week. However, while waiting, they may also look through social media to find solace.

The Skam team also created social media accounts for their characters, not actors, but the characters. The ‘characters’ would post pictures and messages – as any teen would today. Not only that, but the audience was also privy to the private messages exchanged between characters. This allows audiences into the lives of the characters and makes these fictional characters feel more real and like a friend to the audience. By using both these private messages and social posts, Skam was able to tell a transmedia narrative. A transmedia narrative (also known as transmedia storytelling or multiplatform storytelling) is telling a single narrative or story experience across multiple platforms and formats using current digital technologies. The most common example is MCU – where they told a story through not only several film, but also television series. The texts have used transmedia storytelling, such as Doctor Who (the tv series, spin offs, books, big finish, movie, etc), The Lizze Bennett Diaries (social media for characters, web series, spin offs, etc), and more. The audience isn’t required to explore beyond the main text (the tv show or movie) to subsidiary texts (web series, books, social media), however those who do interact with the transmedia narrative, and fan culture, are able to gain a deeper understanding of the show/characters and are given Easter eggs. 

For example, in Season 1 a character on Skam, Eva, posted on Instagram a photo stating that her boyfriend, Jonas, made her nachos and shows the Fresh Prince of Bel Air title card. This seem arbitrary and irrelevant to the main plot of Season 1, however in Season 4 in the final episode when Eva’s new suitor texts her ex Jonas for advice, Jonas tells him just ask her to watch Fresh Prince and eat nachos. There was no need for a ‘call back’ to a social media post from Season 1, but by doing this Skam was able to utilise not only digitial storytelling, but also transmedia storytelling.

Realism and Belonging  

So, while other teen dramas try to depict a grand and fantastical allusion of teen life, Skam rejects that and offers a realistic depiction through its creating, making and releasing process – but how does the series represent, through realism, belonging. Each season of the series focus on a central character. There is a core set of characters at the school, but each season focuses on one character – we see the narrative through their eyes – and their journey. Season topics include identity and loneliness, feminism and sexual assault, sexuality and mental health, and religious beliefs and online bullying. These were inspired by the interviews conducted in the research and relevant to teens whilst growing up in today’s society. The main character is faced with these real issues – they struggle alone with the burden of these topics and are able to finally resolve them with the help of friends and professionals. Skam is excellent in depicting the importance of a strong group of people who will listen to your issues, accept you, and guide you to find the answers. The show does not aim to solve a murder mystery or decide which boy the girl should go to prom with – it aims to show how others are also struggling with the issues you have, how others can and will accept you, and how you can also find the answers. The show’s thesis and mission statement is to ‘help 16-year-old girls to strengthen their self-esteem by breaking taboos, make them aware of interpersonal mechanisms and demonstrate the rewards of confronting fear’ The show tackles real issues (through creating) by creating real characters (through making) and allowing audience to engage with them on an intimate and personal level (through releasing).  

In conclusion, through its creating (thesis statement and research), making (non-professional actors and location), and releasing (live release and transmedia narrative), the series Skam is an example of an ideal teen drama that depicts emotional growth and belonging for its audience. Rejecting the fantastical and embracing realism, through the use of extensive research, authentic acting and location, and digital and transmedia storytelling, Skam is able to depict teenagers in a genuine and realistic manner. Skam is a television series that should be analysed and evaluated in a critical context, and not be seen as a mere ‘teen-drama’. The series provides ample opportunities to be praised for its innovation, creativity, and uniqueness. Other teen dramas should not submit to the underachieving standards of what it is to be a teen drama, but instead realise what the true purpose of a teen drama is and rise to the occasion to creating something new, powerful, and meaningful.  

[keyofjetwolf]

The Chosen: All the notes and answers to shit you wondered about for years

Hey. Hi there. How are you? I’m good, thanks for asking.

So, you remember when, at the beginning of the year, I said I was officially retiring my Buffy the Vampire Slayer continuation, The Chosen? If this is the first you’re hearing of it, a) SORRY TO DROP THAT ON YOU, and b) you may want to read this post first.

All caught up? Awesome.

I told you guys I’d share my stuff. This right here is that. I’ve searched through countless backups, terabytes of data, the remnants of three computers, AND MY SOUL (not really my soul; it doesn’t have a convenient find option), and I think this is everything. If there’s anything left of The Chosen that isn’t contained here, then it’s almost certainly lost to time and I wave it a fond farewell.

But don’t worry. There’s a lot here.

What I have for you are all the notes, plans, and ideas that I had written during the time when The Chosen was pretty much my entire world. From late 2003 to mid 2005, I was on my Buffy creative shit, and OH THE PLACES I WANTED TO GO. I’m not sure I’ll ever not be sad that, in the end, I couldn’t do it the way I wanted. Still, I’m glad to finally be showing you where we were heading.

I’ll try to give this as much order as I can, but my notes were strewn across a mass of files, and in some cases, I straight up can’t remember what the fuck I even meant any more. Feel free to ask if you have questions! Just be prepared that the answer may have to be an apologetic shrug.

I’m not sure what to wish for you all in the reading here. Closure, of some kind, I suppose is what we’re really all after. So closure it is! Happy closing, friends.

Thank you so much for allowing me to have captured your interest and attention, and for accompanying me and these characters I loved on the journey toward the ending I hoped for them.

** Any comments from present-me will be marked in this format. Otherwise, everything is untouched from how I wrote it whenever-the-fuck ago. Section headers are either as I named them at the time, or taken from the file name.

S8 Ideas

General Ideas

Rogue Slayer girl ' 'Full Circle'; Faith-centric.

Possessing demons ' personification of control ' W&K breakup episode.

Xander gets powers, but in exchange for his humanity. Comes to realize that his humanity is what his friends need, and he gives up the power.

Dawn's key powers are reawakened ' ability to unlock and enter doorways to parallel dimensions/realities and back again. Episode where this happens and she visits a parallel world (where she is the Slayer?). Possibly triggered by Doc, seeking to reawaken Glory?

Monster that eats body parts to rejuvenate them.

Emotion sucker.

Incubus that tries to seduce Buffy in her dreams.

Siren/rock group ' playing in club.

Faith/Buffy/other Slayers hunted for sport.

Super Slayer, enhanced by the DC. Big Bad? Guinea pig.

Legion of Super Slayers, created from life force of girls who reject the offer to join the DC.

Things to Name and Figure Out

The name of the new town.

New town is in center of three-Hellmouth triangle, consisting of Cleveland, Ohio, Syracuse, NY, and Washington DC. The gang is settled in a fictitious town in Pennsylvania, not far from Williamsport.

Name derived from three? Trinity, Trillium, etc.

The name of the Bronze replacement. (The Vortex?)

The name (and personality) of Kennedy's new Watcher.

The name (and personality) of the turncoat (the girl Giles talks to in Ep #1)

The name (and personality) of the girl Faith recruits (future cannon fodder)

Better name for the Dark Council.

Better name for the Dark Coven.

Assorted Ideas and Quotes

Scene: Someone shopping at a local bulk warehouse place. How much to Slayers eat? A LOT.

Possible use for the drug from "Helpless" that neutralizes Slayer powers?

Scene: Junior Slayers fighting monster. One says "You ARE the weakest link... Goodbye!" The others make fun of her for using such an outdated pop culture reference. She pouts that they should add a class about banter to the Slayer curriculum.

QUOTE: "D'you ever think sometime we should, you know, run AWAY from the blood curdling screams?"

QUOTE: Buffy doubts Tara's return. Willow: "What, you hold exclusive resurrection rights?"

QUOTE: Tara and Dark Coven guy. Tara: "She'll kill me. After I do this...Buffy will kill me." DC: "After you do this, will you care?"

QUOTE: "Excessive? I think you and excessive have already met in a head-on collision and exchanged insurance information."

QUOTE: Tara talking about doing stuff with Dawn: "You know, shopping, getting our hair done ... girl things." Willow: "I like your girl things."

QUOTE: Someone's sick, but denying it. They cough, get an accusing glance. "I just have something stuck in my throat." "Yeah, it's called ILLNESS."

QUOTE: Faith to somebody, possibly a young Slayer, who goes on at length about what they're going to do to a bad guy or deal with some serious challenge or something similar. "You're full of crap, you've got no idea what you're talking about. (beat) But you mean what you say, so that's gotta count for something."

Notes

1st ep

fate of SS's

Dawn's powers

X taking Watcher's courses

G distancing

W going to grad school

B/T going back to school

prophecy bits

G gets ring

Buffy bit - blood

Ante released

Season 9 Ideas

based on 7 samurai - group of people want to come in and hire the seven to clean something out

something happens where buffy or dawn disappears and the other goes to find them

core four have notoriety as evil forces (four horsemen) with some other community

sdhs reunion episode

"Demon that draws strength from guilt, hate, love, etc. Especially bad if it gets hold of Faith..."

---

I had a really cool thought about Buffy and relationships while I was in there though, which I think I'll have to work into The Chosen.

A common thread in each of her big relationships (Angel, Riley, Spike) is that when she tells them she loves them, they don't believe her.

Well Angel does, but he doesn't think she loves him enough. When he leaves, it's despite her telling him over and over that she loves him enough that him being a vampire and them not being able to do "normal" things doesn't matter. He doesn't believe her, and so leaves.

Riley tells Buffy during their big pre-him-leaving fight, that when she says she loves him, he "doesn't feel it". His disbelief in her and her words causes him to leave.

Then there's Spike. Final episode, Buffy finally tells him that she loves him. "No you don't. But thanks for saying it." And then he dies.

At this point in Buffy's life, there are a lot of reasons why Buffy wouldn't want a relationship in my opinion. But not the least of which is the fact that she MUST be able to answer the question of why none of these guys she loves ever believe her? (Even if you don't think she did love Spike, to Buffy I doubt that would matter -- HE didn't believe her EITHER [and how dare he not believe me, by the way!]).

It's a concept I just managed to sort out (in the shower, of course), and I don't think it's an "obvious" connection, but I do think it's an extremely valid one. I think before I'm done, I'll have to work this into the story somehow. And not resolve it, because I don't think it's easily resolved, and I think it's an issue outside the scope of what I'm trying to do, but I think the issue should be raised.

Season 9 Episode Ideas

Episode where everybody speaks in rhymes. Possible reintroduction for Faerie character?

De-aging episode, Giles' 50th birthday. Courtesy of Ethan Rayne. ("Many Happy Returns"?) Zaps Giles, Willow, Buffy and Xander back to four or five or so, leaving Tara, Faith and Dawn to look after them.

Episode dealing with the murderers in the group: Faith, Willow and Giles. Finch's son/daughter hunts down Faith to (confront? get revenge?) for his death. Sub-plots for Willow/Warren and Giles/Ben. Interesting to note that Faith is the only one who has ever shown any regret for her murder.

Herculean labors parallel. Xander? ("Labor Day"?)

Seven deadly sins with each main character embodying one of the sins? The one least like themselves?

Buffy: Greed

Willow: Sloth

Xander: Pride

Giles: Envy

Tara: Wrath

Dawn: Lust

Faith: Gluttony

Some other Slayer in the past, fighting an enemy that arises today. The gang have to read through the old Watcher's diaries to learn about him and how she defeated it. Shows this old Slayer and her Watcher via flashback. Maybe our Big Bads?

The characters get sent into Faerie Tales where they're forced to sort of act out the tales they're in.

Inanimate creation of some sort (puppet like) who makes other inanimate objects come to life. Specifically mannequins, by switching them out for real people. Some Scoobies, of course, fall victim to this.

Xander getting set up on blind dates. Amusing segment where Xander explains to date after date about what happened to his eye, each reason becoming more and more outlandish. Finally he just gives up and tells the truth - "It was gouged out by a crazy preacher man." The date laughs: "You're so funny!" Could end with Xander getting fixed up with the girl we introduced in S8 and possibly have seen a few times since then - Xander's love interest.

Revisit ideas: nameless, faceless army for the good guys, what are we doing with our army?

Tara dealing with family issues. Why am I back? Madrigan as new father.

Banan the collector

Alt world where Core4 seen like 4 horsemen (Title: "The Four"?)

Conversation where some characters are guessing who would've been the next successor to the Slayer line.

"Other side" episode with dead characters

Buffy/Dawn ep about Buffy's role in Dawn's life. Seeing the others intreract with her, wondering what her place is in Dawn's life. Parallel with flashbacks about VS and her sister. Starts with Buffy finding Grip and Dawn making out, leads to Buffy giving Dawn "the talk" and failing miserably. ("Sometimes, after you and a guy ...... they CHANGE.") Dawn learns nothing, goes to Tara from there, who knows nothing about having sex with a guy, but is supportive and encouraging. Buffy overhears and then begins to try to find how she fits into Dawn's life. We learn at the end that although B/D are vastly different from the VS and her sis, the bond is still just as strong.

Willow (and Tara) meeting up with Willow's parents again.

Big Bads

Vampires, return to the simpler times a bit. Not apocalyptic, but personal. Female vamp with a real mad-on for Buffy. Pissed because Buffy failed to save her? Also possibly some sort of vampire army. Fem is a modern-day Sun Tzu, right hand to this guy in charge of everything.

Addition (3Jul04): After some discussion, we're leaning toward making the femvamp a Slayer who was turned waaaay the heck back when. Possibly held or captured by some other vampire later on in life, and she was released by the head of the army, thus earning her allegiance. Maybe she's Japanese and thus very honourable? If we take her from 1600 or 1700's Japan, that might work out well. Might also give added weight to why her soul has no bearing on halting her quest for vengeance - honor demands that her sister's death be avenged. Possible imagery: maybe she was tortured by whoever held her? The mental image of big ol' cross scar over her eye is intriguing.

Season 9 Episode Chart

Notes

Need to work out (soon!) everybody's hell stuff so it can be incorporated into earlier episodes.

Willow versus hacker vamp idea. Why? What's at stake? Possible fill for humour ep at 9x16?

Corollary: Replot Willow's arc through S9 and possibly into S10.

Get new prophecy for Giles.

Work in at least one other prophecy stanza this season. Important to figure out soon. Who, when, how?

** This was a chart which doesn’t translate well to Tumblr, so I’ll break the cells apart and show column separation with ||

Updated - 22 June 2005

Ep # || Monster/Conflict || Plot Developments || Focus

9x01 || Vamps || Buffy kills Hitakno || Group

9x02 || Dante || Faith comes home || Faith

9x03 || Slone || Sunnydale HS reunion in LA || Group

9x04 || Vamps/Demons || Yuugana arrives in Trillium, Xander quits the Council || Xander

9x05 || Belastung || Tara goes home. || Tara

9x06 || Ethan || Giles birthday, Scoobies regressed  || Giles

----------------- NOT YET AIRED -----------------

9x07 || Slayer || Demon girl on run from Slayer. Buffy and Slayer at moral odds. Dawn key powers awaken fully. || Buffy/Dawn

9x08 || Amy || Amy cashes in on Willow's debt. (Fake) Buffy accompanies. || Willow

9x09 || D'Hoffryn || Xander makes a wish that Anya hadn't died. || Xander

9x10 || The Furies || The Furies drive Finch's child to revenge. While they're here, they decide to spread the love. || Faith/Giles

9x11 || ??? || Funny episode - Camping trip? || Group(??)

9x12 || Yuugana || Faith visits Hazel's parents (Xander accompanies). Upon return to Trillium, is attacked and nearly killed by Yuugana. || Faith/Xander

9x13 || Yuugana/General || Sister's parallel. Buffy and Dawn, Yuugana and Hitanko. Yuu's backstory. General arrives, drains Willow and Dawn. || Yuugana/Buffy

9x14 || Yuugana/General || Buffy insists that the gang re-ensoul Yuugana. They do so; it makes no difference. Buffy attacked, put in coma. || Buffy/Group

9x15 || Antediluvian || In an effort to save Buffy, Tara, Xander, Dawn and Kennedy go in search of Ruth, and the Antediluvian. || Tara/Group

9x16 || ??? || Funny episode - ??? || Willow(??)

9x17 || The General || The General's plans come to fruition. || Group

9x18 || Giles' Demon || A demon Giles thought defeated years ago comes back to continue their arrangement. || Giles

9x19 || 7 Sins || The Seven Sins are unleashed on the Scoobies. || Group

9x20 || The General/Yuugana || The General releases Yuugana and they formulate a new plan involving Dawn. Yuugana kills the General and takes Dawn as bait. || Group(?)

9x21 || Yuugana || Part 1. Yuugana takes Dawn into the Private Hell place where she was recently kept. The Scoobies must follow. || Group

9x22 || Yuugana || Part 2. The Scoobies fight their way through their personal hell. Buffy vs Yuugana. || Group

Original Chart

** “VS” stands for “vampiric slayer”, so Yuugana before she had a name.

Ep # || Monster/Conflict || Plot Developments || Focus

9x01 || Vamps || Buffy kills the VS's sister || Group

9x02 || Serial killer || Faith comes home??

9x03 || ?? || Sunnydale HS reunion in LA || ??/Group(?)

9x04 || ?? (vamps?) || VS arrives in Trillium || ??/Group(?)

9x05 || ?? || Tara goes home. VS denied immediate revenge. || Tara

9x06 || Amy || Amy collects on debt. Wants Will to help her get a book. ||  Willow/Buffy

9x07 || Ethan Rayne || Giles birthday/regression || Giles

9x08 || Doc || Dawn & Doc - Key powers fully awoken || Dawn

9x09 || Finch's child (furies?) || Murderers haunted by past || Faith (lesser: W, G)

9x10 || D'Hoffryn || Xander's wish (Anya) || Xander

9x11 || VS/?? || Sister's parallel episode || Buffy/Dawn

9x12 || Monster in woods || Camping trip (Tara and blade of grass) || Group

9x13 || VS || Buffy vs. VS -- VS ensouled, Buffy drained || Buffy

9x14 || VS minions(?) || Buffy injured. Group goes after Antediluvian || Tara/Group

9x15 || ?? || "Labor Day" (Kenn still around) || Xander

9x16 || artifact || 7 Deadly Sins || Group

9x17 || Computer Program || Willow and the computer program || Willow

9x18 || ?? || Faith visits Hazel's parents || Faith/Xander

9x19 || Demon || Demon that's possessed Giles. Comes every 10(?) years. || Giles

9x20 || General || Fight with General - General loses || Group

9x21 || Demon Dimension || Four Horsemen ("Four"?) [Abortive attempt by VS to separate Buffy from her strongest allies?] || B/W/X/G

9x22 || VS || Big battle -- Buffy vs. VS || Buffy/Group

Yuugana

need: how does Buffy come to believe what she does about Yuu? Conversation beforehand? Difficult. Why doesn't Yuu just kill her? Could make threat, but then Buffy is gambling with everyone, and makes no sense why Yuu nearly kills Buffy later. (Especially as threat will come when Buffy falls unconscious.)

Buffy must be able to draw conclusions ahead of time. Paint picture of Yuu that Buffy will be privvy to. Draw parallels b/w Buffy's life and Yuugana's life. Buffy will internalize.

NEED: When/How will gang find out that she is Yuugana? When will this name be dropped? How? May be good if we can draw General as being very, very powerful. They're afraid of him. Getting Yuu on their side would be huge in fighting him.

Idea: General nearly kills Dawn, draining key powers. Yuu saves her. Buffy thinks it is because Yuu knows what it's like to lose a sister. In truth, Yuu isn't ready for Dawn to die yet - that will be the most painful blow of all.

buffy believes -- utterly believes -- that Yuugana will be good if given her soul. Spike was good, Angel was good ... maybe all vampires can do good if given the chance? Who is she to be judge, jury and executioner?

Internalized: this could be me. What would I do if someone killed Dawn?

** I found two sets of Season 9 character arc notes. The first set are what I think what I was mainly working from, but I’m not 100%.

Character Emotional/Plot Arcs – Season 9

Season Theme: Consequences

Buffy

Will be target of the Big Bad’s wrath as a consequence of killing the BB’s sister early in the season. Buffy’s primary emotional arc will be in the realization that every action, even the most seemingly natural or inconsequential, has far-reaching repercussions, that affect not just Buffy but those she loves.

Willow

Willow’s emotional arc returns to one that was never resolved or given enough attention (or mangled thanks to magic=crack) – control issues. Throughout Willow’s history on BtVS, she’s exhibited time and again a deep NEED to control the things around her. Her need for this never changed, save for her becoming so paranoid she was afraid to breath for fear of killing everyone in S7. Her catalyst for these deep-seeded emotional problems re-emerging stem from a few basic changes. 1) Tara’s back, and Willow doesn’t think she can take losing her again. 2) The Big Bad has made things very, very personal. And Willow remembers only too well what happened last time a Big Bad vampire took things personal. 3) This Big Bad is smart. Really smart. In some ways, even smarter than Willow. And for all the enemies they’ve faced, Will’s never had to go against someone who’s been able to out think her before. And she freaks.

We’re going to have to be careful with this one, though, because we don’t want a return to “Willow Uses Way Too Much Magick” again. We’re therefore going to have to find others ways in which Willow exercises that control trigger finger. Her computer skills could certainly help out to a degree, as well as her smarts, but we’re going to have to be careful. We definitely don’t want a rehash of S6’s problems. Willow is – or very much should be – wiser than that now. And while Will has sort of always had a bad case of “the ends justify the means”, we don’t want a rehash. So care is needed.

We could help to show this by maybe having Willow do something like casting a really powerful protection spell that somehow backfires. What will be vitally important here is taking care to make it very clear that Willow isn’t relying on magick for every little thing (no spells for decoration or closing curtains) … the magick is simply her most powerful tool for keeping everyone safe. This should NOT be about black magick, but about a need for control.

NOTE (4Jul04): After discussions, will probably meld Will's character arc with the fact that Buffy and others (Tara and Giles probably excepted) don't fully appreciate or realize the pressures they put on Willow to come up with the answers and be the big gun, while simultaneously not wanting her to go too far. Magick is bad, except when they need it. They don't accept their own consequences for the actions they push her toward. This still feeds into Willow's character flaws above - her need to protect everyone, to be the best, to keep the nasty stuff at bay.

Xander

Xander, being the human element, will have the root of his emotional arc derive from one of the most basic of human desires: to live forever. Not in the biologically immortal sense, but by wanting to live on long after he’s died. Xander realizes that of all his friends, he is the one that history is least likely to remember. The odds on him being studied in school centuries from now are next to nothing. Buffy will be recalled as the world’s most successful Slayer. Willow as the witch whose spell changed the world. Giles as the founder of the new Watcher’s Council (and new world order?) Any history mentioning Willow is almost guaranteed to include Tara as well. Dawn and her Key potential is fascinating and going to be mentioned … but Xander? There’s nothing so remarkable about Xander, he feels, and thus begins his quest to somehow ensure his own immortality to history.

This might somehow be triggered by the emergence of a new sort of threat. With Slayers all over the world, there’s absolutely no way that NOBODY is going to notice them. Even if people in the Buffyverse have shown time and again that they’ll simply ignore what they either can’t or are unwilling to understand (gang related, PCP), not everybody is so willing to pull down the veil. Thus begins the emergence of a conspiracy theorist, someone who somehow has managed to trace his story to Slayer Central. In doing so, he somehow manages to put a level of importance on each of the Scoobies … except Xander. Which stings.

Xander would eventually come to realize that while history may not remember him, those he loves certainly will, and when all’s said and done, that’s enough for him.

Giles

Giles’ arc will come out of an inevitability – his age. One of the earliest episodes will be reflecting on the fact that Giles is now 50. He’s done such a good job with the Council that much of the bureaucracy continues without his direct involvement. He’s not really keen on that side of things anyway, so he’s not sorry to see it go. But what he does want to do instead is get into the thick of things physically. But, unfortunately, he simply can’t anymore, and it’s a lesson he very much doesn’t want to learn. Giles will ultimately come to realize, however, that while he can’t swing a sword to match the Slayer, what he DOES have is his incredible mind, which will certainly be put to great use in the confrontations with the Sun Tzu-like Big Bad. The fight could not be won without Giles’ intellectual input.

Tara

Tara will spend much of her arc wondering about her place. When she was alive, she had some difficulty in fitting in. And it wasn’t until just before her death that she really started to come into her own. A year and a half has passed now, however, and things and people have changed. Tara aspires to be more than just an extension of Willow, and as voiced in “Family”, she wants very much to feel useful to the Scoobies.

But Tara’s need to find where she fits extends beyond simply within the Scoobs. Tara has a very definite sense of nature and balance, and her being brought back from the dead is something of an abhorrence to her. She can’t quite shake the feeling that in order for her to have been brought back, something had to go out in her place to keep the balance. What that may have been disturbs her beyond words.

How exactly these issues become resolved is currently unclear. Tara should certainly remain the moral and emotional center of the Scoobies. She has more power now, but power was always Willow’s contribution, not Tara’s. On the death thing, perhaps something mystical helps her? Maybe the big Wicca chick we bring in at the end of S8 can help somehow? Show that Tara’s coming back was, in its own way, as natural as her passing was UNnatural. Her return is, in and of itself, a righting of the scales.

Dawn

This is a big year for Dawn. She’s a senior in high school. She’s turning 18. She’s becoming an adult. Oh, yeah, and she’ll finally figure out that she’s got all those Key powers still. Dawn’s story will be about transitions. From childhood to adulthood, from being just a normal (as normal as she could be) girl to having all those powers as the Key and whatever that implies for her. We will also need to decide this year where Dawn’s going to college (her awakening Key powers could be a good excuse to keep her local).

Faith

Faith’s story is going to be about guilt. Hazel’s death at the end of the previous season happened right before we ended the whole thing, so at that point we will have gotten to see precious little carryover. This is the time to dwell on that. Faith would feel tremendous guilt over Hazel’s death – Faith is the one who recruited Hazel, who brought her there. She was Hazel’s mentor, and Hazel sacrificed herself for Faith. We don’t want to retread over the “do I belong here?” line, since we’re dealing with that in S8, but Faith should certainly be questioning whether or not she should be leading little girls into dangerous battles. It’s one thing for Faith to risk her life night after night, but another entirely to be responsible for the lives and deaths of others. Unsure how this will resolve, but it seems the logical arc for Faith given the closing of the previous season.

Big Bad

NOTE: We’re going to have to come up with a really good reason why Willow just doesn’t ensoul the vamp chick … or she does and it makes no difference at all. Could be an interesting commentary about vampires and souls. Hm.

The more we’re discussing this, the more we’re liking this idea. The notion of souls in the Buffyverse has always been sort of hazy at best. Loosely, they seemed to be of the opinion that getting a soul somehow made you good … but there are countless number of humans in the world (and the Buffyverse – look at Warren) who are human and, one therefore assumes, have a soul. Yet they are still capable of great evil. Even more so than some demons that they encounter. So despite however neat and pat Buffy likes to make it sometimes, a soul does NOT automatically mean that someone is going to be good. And maybe that throws her for a hell of a loop. Willow ensouls the BB, but it doesn’t make one bit of difference. Vengeance is, after all, as much a human emotion as anything else, and the BB still wants Buffy to suffer horribly for what she’s done. At most, the BB may feel some measure of guilt for the people that she’s had to kill over the past 300 or 400 years (however long she’s been vamped), but as it turns out, she doesn’t. She looks at it with the detached, cold impracticality possessed by Slayers – she did what she had to in order to survive. Maybe she wasn’t a fan of torture (we’re painting her very logical and such, so this should work okay), and simply did what she needed to. The Slayer in and of itself is very predatorial and most definitely a survivor – there’s not necessarily much difference between them, and this will further demonstrate that fact.

This could also further add to Willow’s continued feeling of being out of control. This SHOULD have worked and didn’t.

Season 9 Character Arcs

Buffy:

Buffy's arc will deal with a continuing gray area between what is good and what is evil. What is a soul really? Does having a soul make you good by default? The vampiric Slayer will prove that's not necessarily the case. Additionally, Buffy will be trying to sort out a few things about her life. What does she ultimately want to do? She could very well be the first Slayer in history to die of old age. Does she want to be involved with that all her life, or does she want more? Would Buffy maybe like to return to school? (Might be fun to have her and Tara going back to school together.) Around midway point, Buffy is nearly drained to death by vamp Slayer, she must rely on others to take care of her - doesn't always have to be the strong one.

Willow:

Willow will come to the realization that her magick is of no use against the Big Bad this year. What is Willow without her magick? What else can she contribute? Progressively, other things may fail as well, so that Willow is systematically deconstructed and having to find her true purpose and how she can contribute outside of her raw power.

Xander:

Xander will explore his roles this season. He's said that he won't be forgotten or shoved aside, so then the question becomes, how will he contribute? It's up to Xander to answer this question. He tries his hand at a variety of roles - maybe a Watcher, maybe a husband (though he's already "failed" at that one). Come the end, he realizes that his role is support, and it's the role he's always fallen into naturally.

Giles:

Giles is pulling away from the others. He's beginning to see the Slayers as nameless, faceless people. He realizes that he'll have to sacrifice them - and some part of himself - again at some point in the future, so he's subconsciously distancing himself from the pain. He's slowly becoming the Old Council. Comes to realize that while he may have to distance himself from the body as a whole, it doesn't mean he shouldn't have any attachments at all. And that he can be those two people - the one that can love them, but still sacrifice them for the greater good if necessary (which will work, as Giles will ultimately sacrifice himself, NOT for the greater good but because he doesn't want them to die).  ** Which may be a good time to point out that I was going to kill Giles next season, kisses.

Tara:

Tara's quest this year will be for her place. She's died and come back, but this isn't "right". There is a balance in things, and she feels she's upset that balance. She'll explore her past and her family to find out why, in a grander sense, she's back and how she fits in now.

Tara and Willow:

Tara discovers that Willow has somewhat enshrined her as a result of her death and return. Willow caves to Tara almost constantly, and it's beginning to affect them both, but Willow can't bring herself to fight with Tara as a result of what happens every time they fight. She doesn't want Tara to go away again. They must fight, they have to learn that it's okay. Tara pushes it with Willow and makes it happen. Maybe when Tara goes to visit her family, that's the catalyst.

Dawn:

Dawn becomes victim of the time-old adage, "be careful what you wish for". She's always wanted to be a Scooby, but now that's beginning to conflict with her other desire to be a regular teenaged girl and her other big desire: to be an adult. All these worlds are colliding and Dawn's not sure which is more important. Blows off Scooby things for friend-things sometimes. Blows off friend-things for Scooby-things.

Re Grip: They're getting closer, but she keeps having to put off things with him due to Scooby situations. Grip notices and (kindly) confronts her, wondering if she really just doesn't want to see him anymore but doesn't know how to tell him. When he finds out about the baddies, he'll back away, needing time to process. Poor Dawnie.

Faith:

Faith will spend the season getting back onto the redemptive path she's been on for years. She doesn't feel bad that she killed Judith and is wondering what the means (somewhat like when her mother died). She'll learn that just because she's stumbled doesn't mean she's fallen. She begins in England, hiding out from Trillium. Thinking she should go solo, it was easier when she didn't have anyone else to worry about. Doesn't want to go back, but Kennedy pushes her. Once back, Faith avoids everyone. Should Giles maybe get Faith into therapy?

Buffy agitated that Faith isn't really being punished. Faith points out that a lot of people around Buffy are killers and they've never been punished either. Buffy needs things black and white, Faith is another shade of grey and it's getting harder and harder for her to do her job.

Xander gets to the heart of things too much, and Faith doesn't want to deal with that. Finally it's Willow who lets Faith know that there's someone who DOES understand. It's the first step in getting Faith back into things, but she still doesn't want to teach.

Maybe at some point in the season, Faith takes off? If so, Xander should probably pursue. (Might tie in nicely to Xander's "what's my role?" arc. Perhaps he has a job interview or something that he can't miss out on that will further define him, but he misses it because he has to help Faith, and that's the choice he makes) Could be where Hazel's death gets resolved. Goes to Hazel's house and parents for that?

Faith's murder issue will probably come to a head when she's face-to-face with Finch's child. Kid wants revenge, and Faith understands that. States how it won't make anything better, but gives up and says that if s/he wants it so bad, just take it. S/he doesn't, of course, which would probably disappoint Faith to a degree.

Maybe show Faith just starting to teach again at the end of the season, rather than some big culmination. Maybe she's forced into it when the VS keeps the other Slayers occupied? Buffy would be elsewhere at the time.

  The Big Bad

** These are some of my earliest notes, as reflected in how I’m using my placeholder names like “Dark Coven”. A lot of it deals with what happened in S8, but it outlines the larger arc, which would have come to a head in S10.

What the Bad Guys Want

The Dark Coven is seeking to reawaken The Old Ones. As per Giles in “Welcome to the Hellmouth", the Old Ones were driven out when the lost their "purchase" on this reality. The last vestiges of the Old Ones fed on a human, mixed their blood, and created the first vampire. This proves that humans were around during the time of the Old Ones. He also states that vamps, demons and some magicks are leftovers from the time of the Old Ones.

The Dark Coven is a group that has been around since the time of the Old Ones. They are in allegiance with them, and are currently seeking to free them. In their current incarnation, they are very, very close (comparatively speaking). The Old Ones are sealed away somewhere by a series of extremely intricate locks, well nigh impenetrable. But they actually are already well on their way to opening them.

More than anything else, the DC is a master of manipulation with OODLES of patience. They've been working on freeing the Old Ones since their imprisonment. As is eventually revealed, they have been twisting events with the Scoobies for years, bringing them to the point where the Old Ones are ready to be freed.

When the Old Ones Roamed

They were, quite simply, lords of their domain. They are few in number, but unfathomably powerful. As with many nigh-omnipotent beings, however, they became bored and complacent. They began to tinker with things and began creating demons, unleashing them on the world. The demons, however, were little more than slaves, and no matter how evil, nothing much likes being enslaved. The demons, together with humans (quite possibly including the Shadow Men from "Get it Done") were able to ensnare the Old Ones -- you can't kill them, but they were imprisoned. Once the Old Ones were gone, their power slowly vanished, diminishing their partners/lackies/etc. (like the DC), and leaving the created demons and humans to fight over the rest of the land.

Season 6 Manipulation

The DC, although powerful, are themselves, collectively, unable to open the remaining locks (if they could ever open any at all). However they soon discovered one girl, Willow Rosenberg, who had the innate ability to channel the energies necessary to set things into motion. She just needed the right motivation to get the power.

Exactly how far their manipulation into these events goes, we don't know. What is for certain is that they fixed it so that Tara would be shot and killed by Warren's stray bullet. (The reasoning for this idea: there's absolutely no way the bullet could have possibly killed Tara in the way it did. Warren was in the backyard, running away and shooting upwards. Tara was standing by the bedroom window on the second story. The bullet shot through the glass, and through her, at no angle at all. Obviously in-show this was done for dramatic purposes, but they left a door open for outside creative interpretation and I’m going through it.)

As they knew it would, this prompts Willow to become hell-bent on revenge and absorb enough power to destroy the world. She goes to Kingman's Bluff, raises the effigy of Proserpexa, and begins to funnel her energies into it. Had she done this enough, she would have raised one of the Old Ones herself (or Proserpexa could have take the next step in unlocking one of the doors), however Xander interceded and saved Willow before this could happen.

NOTE: Perhaps Xander's interception is what was actually needed here? I always found it interesting that he completely blocked and seemingly absorbed all that power Willow was throwing at the effigy without even blinking. Was this maybe super-charging him for something? Could this maybe be key to what they will need to save him from later on? (S10 stuff.)

The Proserpexa angle maybe have been removed, but the DC didn't mind -- Willow had now unlocked enough of the power within herself to open another lock.

Season 7 Manipulation

This stems from a whole lot of S7 never really standing up to much scrutiny. Take, for example, the scythe. Caleb and the First spend SO much time and energy in uncovering the scythe, claiming to know how very important it was to NOT allow Buffy & Co. to get it -- when if they hadn't even been trying to get it, Buffy wouldn't have ever known it was there. This in and of itself seems to make ZERO sense, particularly since it never seemed to be that the First could use the scythe himself -- it was all about keeping it from the Slayer. So, very stupid to not only sit on the darned thing, but to ACTIVELY BRING YOUR ENEMIES TO IT (the "trap" in "Dirty Girls" leads Buffy and the Slayers to the vineyard, They never would have bothered going there otherwise).

My reasoning: The First is also an Old One. And he set his plan up specifically to fail. He himself is immortal, he cannot die. And he doesn't really give a crap about ubervamps and Bringers. Their plan all along was to make the Scoobies unleash the scythe to awaken all the Slayers.

Why? As mentioned in "Get it Done", there is a well of Slayer power. That well is usually filled nearly to capacity. It was, after all, only being used by Buffy, and then Faith. The fact that the emergence of a second Slayer did nothing to diminish either's power indicates that it's not shared on that kind of level. In addition, the awakening of all the Slayers at the end of "Chosen" didn't seem to cause any sort of power drain. Instead, we theorize that the well is deep, but has a finite capacity. When Willow did the spell, she in essence pulled the stopper on the well and drained it dry. This well, however, happens to be one of the keys to freeing the Old Ones, and once it drops to a certain level, the "door" that it locks is open.

Moving on -- The Chosen

When Slayers die now, one is not called in their place. There is a finite number of Slayers in the world now. When they die, their Slayerness returns to the well. Only once it reaches a certain level (presumably it's "default" state, pre-spell) will the "natural" process resume. The DC obviously don't want this to happen, as once it "refills" to a certain point, the door will close again. Hence their working with the Assemblage of Merodoch (previously, "Dark Council"); by harnessing and funneling the Slayerness into an already existing Slayer, it does not return to the well, hence no refill.

But that isn't the only reason the DC are working with the Assemblage. The AoM also has another key: an angel that they're keeping chained up in the deepest sublevel of their headquarters. This angel has, perhaps, been around as long as the Old Ones themselves. Perhaps he even aided in imprisoning them. He was captured shortly thereafter, however, and has remained that way ever since (we're talking pretty close to pre-recorded history here, as long as the Slayer line has been in existence, possibly longer).

Idea: The angel can only be freed by a descendant of one who imprisoned him in the first place. Maybe a Giles?

He is a key -- maybe something he says? His true name, perhaps? The DC want him, but the AoM have him and won't give him up. They have said, however, that once Order is restored to the world, they will provide the DC with the means to do whatever they need to do with him. The DC is okay with this -- they're currently getting something from the Council (someone to alert them to the need to funnel Slayer energy and someone to keep all that tiresome business together while they focus on the really important stuff).

Like good ol' Willow Rosenberg.

They call Willow "The Sangerand" ("the bloody"), and they should absolutely not be done with her yet. Willow's independent further role, we don't yet know, but she commands their greatest amount of attention. Her, and Tara. ("The Curat", or "the pure"?)

When they resurrect Tara, it is ostensibly under the guise of killing Willow. However the true reason is to fulfill Tara's part of this prophecy (which includes her death, resurrection and making the choice to not kill Willow), possibly including the sharing of power that Willow will need to do to save them.

Thinking on it, it would be cool to have each Scooby play an important role somehow in all of this. Sort of like their being together in this way was a fated thing. "The Chosen" indeed.

**ADDENDUM** I really like this idea of each Scooby playing a particular role. This could still lead up to the eventual death of Giles, which in and of itself will provide the beginnings of the Coven's downfall. They do whatever they're doing to Xander, which will kill him - but that won't matter because his role in unlocking the door will be done. Will is going to be doing the spell to save him, which will kill her in turn, but that's okay too because her part is also played in releasing the Old Ones. Giles, however, has NOT yet done his part, and he completely surprises everyone when he takes Willow's place, thereby saving both Will and Xander. This totally throws the Coven for a loop, though obviously they must still be able to do what they need to without Giles, else their plans are over with right then and there. It's crucial that his sacrifice NOT be part of the DC's plans, else it takes away from its poignancy.

Will need some sort of prophecy-type thing detailing what is needed to be done to release the Old Ones. Should be nice and vague, but with meaning once you figure it out.

Scooby Designations

Willow: The Sangerand ("the bloody")

Tara: The Curat ("the pure")

Xander: The Vedere ("the sight"), The Asar ("all-seeing eye") -- "The Baani" ("The Architect" - Urdu)

Buffy: The Kusari ("the chain"), The Revenire ("the returned"), The Gula or The Bau ("Lady Who the Dead Bring Back to Life")

Giles: The Verhaal ("the history"), The Shoukin/The Infria, ("redemption"), The Shin'ar ("Land of the Watchers")

Faith: ("the dark"), ("the restrained"), ("the wild")

Dawn: ("the cherished"), ("the gateway"), ("the portal"), ("the key")

The Prophecy

Opening Quatrain

Buffy :: The Trimarga :: Three Path A heartbeat thrice begun A death mark thrice given All roads lead to the town of three When her spilled blood shall spill again

Willow :: The Sangerand :: The Bloody Blood flowing, blood taken Forces awoken, decline and ascent Blood given, life exchanged Freely, she will fall

Xander :: The Baani :: The Builder Grief and rage, life's destruction Mind and body, life's cohesion Heart and spirit, life's devotion Melding, merging; essence anew

Giles :: The Tezan :: The Way Forger of paths, the first and his kin The demon wields the plague of black Summoner, banisher Pierce the barrier, paths renewed

Tara :: The Curat :: The Pure Birth and rebirth, the cycle complete Connected to evil, untainted Power innate and power borrowed Through the light she will free the ancient one

Dawn :: The Amelatu :: The Gatekeeper Living energy made flesh and form Younger in life, older than death Truth altered, life shed And the walls will fall

The Slayer Well Solitary hunter, night's enemy She alone will stand When the well is drained and strength is shared One becomes Many

Closing Quatrain And so it is written Seven locks hold fast The masters expelled, the world cleansed Until the Chosen play their part

Seven keys for seven locks From the first to fall, five score and one If all locks turn, the door lay open And the Old Ones shall reclaim the Earth

Buffy: The Trimarga ("three path" :: the triple path of Knowledge [jnanayoga], Devotion [bhaktiyoga] and Action [karmayoga]). Three times her heart has started beating, three times she's been marked by a vampire (Angel, Dracula and the Vamp Slayer [yet to happen) and in town of threes(??). Something to do with blood - some of it needed to open the lock. Blood of a Slayer is already potent, and Buffy's was obviously enough to close the portal in place of Dawn.

Willow: The Sangerand ("the bloody"). Willow will cast a blood-sacrifice spell, that will enable her to willingly exchange her life for another. It has to be this spell based upon how Mads and the others are killing Xander. Very, very powerful, only she can do it. The flow of the energies will open the lock.

Xander: The Baani ('the builder"). Xander is the "incuabator" for two very powerful magicks. They don't impact him directly, but it is his nature - his very self - that will enable them to merge within him to create something new. The first blast came from Willow on Kingman's Bluff. The second, from the orb destroyed in "Win, Lose or Draw". Madrigan will take Xander around the mid-point of S10 to extract the magicks from him. It will kill him in the process, but that's of little concern.

Giles: The Tezan ("the way"). Giles' role is to obtain a ring that has been in his family for generations upon generations. Unknown to those recently, the jewel of the ring actually contains a demon - a demon that was the original cause of the Black Plague in the 1330's. Giles' ancestor, a powerful warlock for the Council, was the first human to pierce the barrier between this dimension and a demon dimension where he summoned a demon and bound it to his service. The demon was sent to China, where it was supposed to take out a group of other demonic creatures trying to open a Hellmouth there. It did indeed do that, but not before starting the plague. The Council, rather than destroy the ring and banish the creature, said "We'll control it better next time." The ring's purpose was eventually lost,. Giles is supposed to release and then banish the demon, again piercing the dimensional barrier and opening that lock. ** He dies instead, sacrificing himself to save both Willow and Xander. Oops.

Tara: The Curat ("the pure"). Tara's lock will open upon her freeing the Antediluvian. The Antediluvian is an angelic creature that was captured by Robespierre's ancestors. Its imprisonment means the lock is sealed - its freedom opens it. Tara is able to free it due to her lineage as a witch, her purity of spirit, her completed cycle of birth and rebirth, and (by binding with Willow) her immense white magick power creating the necessary conditions. Ruth, Tara's grandmother or great-grandmother, was also thought at one time to have been the Curat, but was not. However she does recognize the qualities within Tara. (Perhaps the Antediluvian, despite its imprisonment being a good thing, can do great good if it's released?)  ** Later in S9, Tara and Co. would have freed the Antediluvian to save Buffy after Yuugana’s attack.

Dawn: The Amelatu ("the gatekeeper"). Dawn herself is able to open the lock. Not a lot of detail here. We'll need to sort out somehow or another that Dawn will do this ... or perhaps she already has? There seems to be little better time for Dawn to have opened the necessary lock than when all the dimensional walls were coming down.

Additional Lock: The well of Slayer power being drained. This was done by Willow in S7, but is not Willow's specific key.

Additional Info: Once any lock falls, there is a "timer" of 100 years for the rest to fall, or they all lock again.

** It may not escape notice that Faith is not part of this prophecy. That became by design, not oversight. I loved how this idea of “The Chosen” worked into the larger series theme, but I also hate the ideas of fate and destiny being controlling factors. Faith was going to be my argument against all that. When all the prophecy pieces were revealed, Faith would (rather defeatedly in her Faith way) note that she had no part to play. But she is the embodiment of being Chosen, as the characters choose to have Faith by their side and fuck prophecy anyway. Their unreserved acceptance of Faith, and Faith’s acceptance of THAT, would have been the culmination of her character arc in S10 (and my series).

S10 Ideas

Something to do with tarot cards, with each member maybe being a particular card?

Several characters get thrown back in time to an earlier season. Dawn especially should go, as she wasn't around then.

stained glass idea. couples. Buffy left free. Valentine's day ep.

"The Impossible Dream" - Man of La Mancha lyrics

Faith having conversation with Kendra -- result of illness, injury, or prophetic dream

** An episode I was definitely going to do, but frustratingly can’t find any notes for (making me feel there must be SOMETHING else out there somewhere but fuck me if I know where) had Willow and Tara going to Los Angels and visiting Lorne’s bar, Caritas.

S10 Ending

Everyone ends on a thematic note, their actions in the final battle bringing together 10 years of development:

Giles's sacrifice makes victory possible - by finally following his heart rather than his duty he saves the world.

Xander, by virtue (and surprise) of simply being Xander, strikes the final blow.

Willow succeeds only by keeping herself in check, refusing to break and believing that she can win.

Buffy's victories come from not only sharing herself (mentally to Willow and physically to Faith and Kennedy) but truly, finally, accepting that she's not in this alone.

Dawn makes the sacrifice she was destined to make from the moment she was created.

Tara is the touchstone, giving the strength and support to everyone else and the lifeline that ultimately saves Dawn.

Faith has no greater role handed to her by fate -- but she's here and kicking ass so screw you, fate.

(work on Kennedy, she ends up fighting w/ Buff and Faith, but does she start there? maybe she and Faith start with Tara and Dawn?)

IDEAS

Seneca final battle. He's winning. Standing over Buffy, gloating smile. Then he finally speaks. Something like, "I've waited a long time to--" Then he gets skewered (Faith or Kennedy, maybe both.) He can't say anything else, just gurgle.  He dies, and the Slayers stand over him.

Buffy: "Blah blah blah. You know, just once I'd like to meet a bad guy who knows how to keep his mouth shut."

Kennedy: "No lie. Still, I wonder what he was going to say?"

Faith: "Who the hell cares?"

Buffy HAS to be part of final Madrigan fight. She goes initially with Xander and Willow. Xander gets struck down by Mads, seemingly dead. Buffy gets nailed too. Willow needs Buffy to get through this though, and Buff gives Will her strength (flashback to "Same Time Same Place" as well as early Chosen w/ Willow and Buffy being so attuned -- see, not a throw-away plot point! Planned all along!) Leads to good "final" conversation/bonding with them as they search for Madrigan in the mental plane.

Earlier in the season, Madrigan extracting the magick from Xander. Very painful for Xander. Madrigan talking to him though, very chatty, very casual. Xander trying to dig for info, Madrigan clearly seeing through it. He likes the cliche though (exposition while acknowledging how clunky and stupid it is to have exposition here). Mads being real bastard (passively though) to Xander this whole time, noting how Xander isn't even really important in and of himself, it's only what others do with him that counts (maybe include little side wink-nudge point, it's what's inside Xander that matters). Mads ends the conversation by apologizing. "Sorry dude, this has gotta suck for you. Hey, you know what I like to do when I'm down? TV! You like 'Murphy Brown'? I've been Netflixing it." He and Seneca proceed to sit down and watch while Xander is essentially tortured behind them. Mads just turns up the volume.

Season 10 Final Fight

Buffy, Kennedy and Faith will go after Seneca.

Willow and Tara will be walking along in the facility when they're attacked. Tara is thrown away from Willow, who is then going to be caught behind an impenetrable shield with Madrigan. He wants to face her alone on an astral plane of sorts. Tara can't join her. Willow is depowered somewhat as a result of the spell she was casting to save Xander. Madrigan wants to fight her, however. Will surprises him - she thought like him and figured he would do this. As a result, Xander is piggy-backing with her, and she's not alone. Madrigan says that he knows Xander, and Xander won't kill him. He's wrong. X: "He don't know me very well, do he?"

Meanwhile, the door to release the Old Ones is opening and they can't stop it. Or they think they can't. Dawn realizes that she, being the Key, can. She begins to do so, but it's taking so much power, it's essentially killing her. Dawn is reverting to pure energy form. Buffy screams at her, tells her not to, but Dawn says she's spent the past five years wondering - feeling, even - that she should've died on that tower. Now she knows that she wasn't supposed to die, she was supposed to live to do this. "This is the job that I have to do." Buffy can't stop her. Tara fights though, won't let Dawn go. Tara eventually passes out and Dawn disappears. The energy is gone and so is Dawn, but the door is closed and locked again.

Not long after, Buffy goes home. Willow and Xander are with Tara at the hospital (she’s drained but okay). Buffy seems to be alone. She's completely dispirited - Dawn is dead. She enters her room, only to find Dawn there. B: "What are you doing here?" Shades of Dawn's first appearance. Turns out (as we'll learn in the final episode) that Dawn has given up all of her Key powers - for real this time. She is now, completely and utterly, a very real, very normal girl.

** And finally, I give you all with this. It’s a rough sketch of the scene after Giles has died, so would have come about 2/3rd of the way through Season 10. I wrote this in 2004, about a week after the death of my grandfather. I like to think that, if I’d gotten that far, this would have been one of those moments that would have stuck with you. I certainly would’ve tried.

Giles Death Reactions

These are a sequence of silent scenes.

We first see Faith in a darkened training room. She's punching a punching bag.

We're in Giles loft, the lights all dark. The door opens, and Hannah's standing there, on the threshold. She doesn’t enter.

We're in a hospital, private room. There are two beds. The one on the far left contains Xander. He looks gaunt, pale, near death. But breathing. His heart monitor gives a steady readout. Dawn sits next to him, inbetween the two beds. Tears are streaming down her cheeks – simply falling, she's not sobbing. She watches Xander with a fearful, worried expression, then turns to the next bed. There's Willow, also pale and drawn. She doesn't look well either, though not quite as bad as Xander. Tara sits on the other side of the bed, as close to it as she can possibly get. One of Willow's hands is held up in both of hers, Willow's fingers resting on Tara's lips. Tara's eyes are red – she's obviously been crying too. She meets Dawn's gaze. Neither smile.

We're in Giles' office. Buffy is standing in the doorway. Her face is blank.

We're back in the loft, Hannah's position mirroring Buffy's. She walks inside and finds herself drawn toward Giles' stereo system. She runs her hands over the CD collection, full of albums and songs from their past.

Faith's punching of the bag increases. She's venting, her jabs more vicious, more focused. Over her shoulder, we see Kennedy watching.

The hospital. Dawn runs a hand through her hair and wipes her eyes after watching Xander intently. She turns to Willow and watches as Willow opens her eyes and blinks. Dawn watches in surprise, and Willow seems to sense the scrutiny. She turns to Dawn and smiles – just a small smile, a pained one, but it's something. Dawn's face breaks into an expression of pure joy and relief, and she says something. Tara has either been locked in thought or asleep, Willow's hand clutched to her forehead, but her head jerks up at Dawn's words. She focuses on Dawn for the briefest of moments before her eyes go back to Willow. Willow is already looking at her, and she smiles again, a bit stronger this time. Willow says something too, and it causes Tara to laugh. The laugh turns into a sob of relief though, and Tara kisses Willow's hand several times then leans over and kisses her forehead. Will is weak, but is able to give Tara a one-armed hug, kissing her on the cheek, then turning to Dawn and extending her other arm. Dawn is there in a heartbeat, also crying in relief.

Giles' office. Almost trancelike, Buffy moves further into the darkened office, which is lit only by the lamp on the desk. As she walks, her eyes are drawn to things. The rows and rows of books that Giles surrounded himself with. The bookcases that Xander built, not only filled with books but also decorated with knickknacks – various small statues and effigies and an Owl plushie. She looks to the opposite wall, where hangs a variety of pictures, but dominating them all, easily the biggest and with the proudest placement, is a picture of Giles, snapped at a moment none of them were expecting. He was obviously the victim of a random group hug attack – Buffy, Willow, Xander, Tara and Dawn, all hugging him fiercely. Giles has that look on his face where he's trying hard to be annoyed with them, but is secretly loving every moment. Buffy's movement into the office hasn't halted, hasn't slowed from its already snail's pace. She's at the desk now. Bathed in the warm glow of the lamp, she sees a cup of tea, only half-drunk, as though Giles will be returning any moment to finish it. Most prominent, however, are the sealed envelopes on the desk, several of them, each bearing a name. We see Buffy's name on the top one, and can see hints of other's beneath: Willow, Xander, etc. Giles' glasses rest nearby.

Faith is almost in a frenzy of kicks and punches now. Her teeth are clenched and she looks like she wants nothing more than to have the bag turn into the Grim Reaper himself so she can pound the crap out of him. A hand rests on her shoulder, and Faith whirls around to see Kennedy there. Faith looks like she might just start beating the shit out of Kennedy as well, but then Kennedy takes Faith's hand and puts a stake in it. Faith looks down at it questioningly, then looks to Kennedy. Kennedy holds up her own stake. Faith's eyes narrow and she nods, just slightly.

Hannah's by the window in Giles' loft, simply looking out, looking at nothing in particular. She hugs herself and her head drops as she starts to softly cry.

In the hospital room, Willow casts an anxious look at Xander still motionless in his bed. She looks first to Dawn, then Tara, who says something that causes Willow to relax considerably. She smiles, but soon realizes her smiles aren't being returned. She again looks questioningly from one to the other, but neither speak. She's getting really worked up now, scared, and Dawn starts to say something. She doesn't get far, though, before she can't speak any more. Willow turns immediately to Tara, who picks up where Dawn left off. Willow watches, still afraid. Then the fear turns to disbelief. She's starting to cry now and she shakes her head in denial. She looks to Dawn, looking for someone to tell her that what she's heard isn't true, but Dawn can only cry. Willow looks back to Tara again and says something, begging for it not to be true. Tara can only look at her with sympathy and matching pain as Willow dissolves into tears.

Giles office. Buffy is sitting in the corner, her back against the wall, curled in on herself. We can't see her face, but her shaking shoulders tell us all we need to know. She's hugging the Owl plushie for dear life. 

CUT TO BLACK

** And that, my friends, is that.

[schmergo]

I love the concept of an evil supervillain who is obsessed with late 90's-to-mid 2000's tween pop culture instead of the usual 'scary high art aficionados' or classic rock fan bad boys.

Upon hearing his nemesis has escaped again, he growls, "That is SO not Raven." When you walk into his lair, he's got "Toxic" playing instead of menacing classical music. He has a snake draped around his shoulders to intimidate foes. His inspiration is his two early 2000's icons, Lord Voldemortand Britney Spears.

When about to kill one of his henchmen for a job poorly done, he says, "As five wise men once said, I don't want to make it tough. I just want to tell you that I've had enough. It might sound crazy, but it ain't no lie." (Pulls the lever that drops henchman into scorpion pit) "Baby, bye, bye, bye." Afterward, he whispers, "Pwned."

When someone insists that they are not lying to him, he gets in their face and hisses, "There are only two things in this world that don't lie. Shakira's hips," and then shoots him.

He only communicates with his evil henchmen(who he refers to as his 'Peeps') via AIM or pager, which plays the Kim Possible jingle.

He detonates a bomb that burns down the entire city center and says, "That's hot."

He is always dropping little outdated pop-culture references that most of the younger-millennial superheroes he faces doesn't get, things like, "Well, well, well, if it isn't Buffy and the Scooby Gang," then has to stall on his evil plan explaining Buffy the Vampire Slayer to them and urging them that they really should watch it, that it absolutely “holds up.”

[djb329-blog]

Bury your Gays.

Back in the 1950s and ‘60s,  lesbian romance novels became extremely popular.  People were naturally drawn to this genre for the same reason people are drawn to 50 Shades of Grey today: it was scandalous.  People love reading about taboo lives and lifestyles, and back in the ‘50s, being gay was arguably one of the most taboo things to be, so the novels flew off the shelves.  Here’s the thing though, these books were dubbed as “promoting moral degeneracy” (because of their homosexual content) by a congressional committee, and publishers were told that they had to make sure their books conformed to certain set of “moral standards”.  If they didn’t, the publishers could face anything from fines to imprisonment.  To ensure that this wouldn’t happen, publishers told writers that their books couldn’t have happy endings,  and their lesbian characters had to be punished in some way at the end of the book.  So, at the end of each lesbian pulp novel, the gay female characters would inevitably go crazy, die (usually in a graphic and horrible way), or just renounce their lesbianism all together.  This trope of having queer female characters die is called “dead lesbian syndrome” and has been adapted into today’s television shows.  The trope is more commonly referred to as the “bury your gays” trope, because even though it applies more to gay female characters, it is forced onto to all lgbt+ characters regardless of gender.  One would assume that this can’t possibly still be happening. It’s 2016, being gay is accepted, and everyone is ok with on-screen gay characters, right?  Well no, not really.  Last year on a show called “The 100”, two women, Lexa and Clarke, who had spent the previous two seasons building a relationship, finally became a couple.  The very next scene, Lexa was shot in the chest and died.  This death outraged the fans of the show who brought this destructive trope into the light, eventually leading the showrunner to apologize for the death.  The very same week of Lexa’s death, Denise from The Walking Dead was shot through the eye with an arrow, something that happened to a straight man in the comics, and Kira on The Magicians committed suicide.  These are not isolated incidents: Pretty Little Liars, Empire, The Vampire Diaries, House of Cards, even Buffy the Vampire Slayer have all killed off their queer female characters.  So far in 2016, 20 gay and bisexual women have been killed off from their tv shows.  In the 2015-2016 TV season, according to VOX News and GLAAD, a lgbt+ rights organization, queer women, despite being less than 4% of the characters on TV, made up 10% of all deaths on TV, and 25% of all female deaths on TV.  But TV characters die all the time, so why is this such a big deal?  For one thing, when a straight character dies, there are still going to be straight characters on whatever show they were killed off from.  When a queer female character gets killed off, statistically, she was the only one on the show.  And, to to add insult to injury, her death most likely happened just to advance the plot of the straight protagonist, causing her to be inhibited from having a satisfying conclusion to her own story arc.   I’m not saying that lgbt+ female characters should never die on television, that would be as equally insane as the current situation.  But representation in media matters, especially to minority groups such as young lgbt+ girls.  Many people of all ages draw inspiration from the characters they see themselves in on tv, so having the small proportion of queer female representation die off at such alarming rates is conveying the message that lgbt+ women are more expendable than their straight counterparts, that they’re worth less to the plot of their show, and that they’re just worth less in general.  The fact is, lesbian and bisexual women are still being punished in today’s television for being who they are, just as they were being punished for back in the 1950s, and they are still not being taken as seriously as any other character might be.  Gay women should not be seen as disposable plot points.  They can be, and are complex, multidimensional, and strong characters that deserve so much more than to fall victim to a toxic, and outdated trope.