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mcgnagallsarmy · 2 years

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Spuffy style Reading Challenge - #15: Alphabet Soup Challenge Author Edition

Baby it's Cold Outside by Addie Logan [NC-17]

Spike and Buffy stuck together for Christmas... (Season 4, post-"Hush")

The Carnivorous Carnival by bewildered [NC-17]

In an AU season 5, a mysterious carnival has popped up on the outskirts of town – and Spike’s kittens are lost in it! Buffy and the Scoobies must navigate a maze of rides, animals, and deep-fried treats to help Spike capture all his kittens and repay his gambling debts. What happens in the story? It all depends on the choices you make. How does the story end? Only you can find out! And you can keep reading and rereading until Buffy and Spike have had not one but many incredibly daring (and possibly smutty) experiences! Choose your own adventure! More than 20 possible endings!!

So That You Will Hear Me by cawthraven [NC-17]

In the aftermath of Spike's sacrifice in the Hellmouth, Buffy turns to the words of Pablo Neruda for solace, but she might just be spinning out. Set post-Chosen, post AtS Damage, and goes AU from there.

Snowed In by Dorians Kitten [NC-17] - this is an all-human story

A particularly awful week sends Buffy Summers running for the remote family cabin she general avoids. She has every intention of spending a few days binge-watching bad movies and eating junk food...alone. The possibility of being snowed in is not a concern. Or at least it isn't until she parks her car and the only man she ever loved, the only man who ever broke her heart, steps out the front door.

The Truth Will Set You Free by Enigmaticblue [PG-13]

Set in S4, after Something Blue. Giles does that truth spell on Spike after all, but what happens when it gets stuck? The truth is sometimes a very uncomfortable thing.

Dancing by flootzavut [G]

Spike could never've imagined they'd get to this point.

Best Served Cold by Girlytek [NC-17]

Willow takes D’Hoffryn up on his offer at the end of Something Blue. Now Buffy has a new roommate. And a really big waterbed.

Tutor by Holly [NC-17]

Buffy has a certain set of skills: staking vampires, slaying demons, preventing the apocalypse, and chasing off men after a single night. That last thing could stand being crossed off her list. Fortunately, she knows just the man—err, vamp—to help.

Wounded by incendie [NC-17]

When Buffy goes to Spike in the basement, she isn't prepared for what she finds. Can wounds be healed?

Workaround by joycometh [NC-17]

Her Slayer Life and her Sex Life aren't always compatible. Still, there's a workaround if you really want it. (Set in a post-series universe where Buffy and Spike are in an established relationship.)

A Better Way to Go by kats_meow [NC-17]

It's Buffy's twenty-first birthday - you know, the one she was supposed to be conveniently dead for - and some smartass has left a crumpled up poem on her porch. Is it trash, a wish, or a chance for something better?

All Quiet on the Summers Front by lex_hex [PG-13]

Spike reflects on the past year he's spent in Sunnydale as he reads Dawn's take on the same events. Set after an AU 'Who Are You'.

Turning the Tables by MaggieLaFey [NC-17]

After the events of A Trip to the Store, Buffy is just too damn curious: what's it like to be on Spike's side of their games? To the surprise of absolutely no one, Spike is more than happy to show her the ropes of her new position. ;)

What Goes Around by Ninereeds [NC-17]

The citizens of Sunnydale find themselves acting on their darkest desires, and the Scoobies' summer vacation hangs in the balance. When Spike turns out to be the only one Buffy can trust, her carefully constructed black-and-white world starts looking a lot gray-shadier. Set in the summer after season 4

The Girl Who Courted Death by OffYourBird [NC-17]

Due to a misfortune of genetics, Buffy is never Called as a Slayer. Instead, she grows up in L.A. with a different set of challenges and trials, unaware of the supernatural world. That is, until a chance encounter with the Slayer of Slayers changes her life—and everything afterward—forever.

Rock Solid by Passion4Spike [NC-17]

Buffy comes to some realizations about herself, the nature of her love, and her feelings for Spike on the eve of the biggest fight of her life, but will it be too little, too late? Spoiler Alert: No, it won’t.

Smoke and Mirrors by Rikki_oko [NC-17]

Season 4, goes AU after Hush.

Someday by Sunalso [NC-17]

AU. The world is broken, but Buffy is given seven days to make it better. Does saving humanity mean letting go of the one thing she wants, or grabbing on to it with both hands?

Naked by The Danish Bird [NC-17]

Her mom is out of the woods, her boyfriend is nice and attentive, the witches are working on some spell to confine Glory for a little while. Things should be looking up, really. But why has Riley slipped out of bed in the middle of the night? And why is Spike, of all annoying people, suddenly there, in her room, refusing to leave? And why are they suddenly stuck there together, on her bed? Buffy could really do with some witchy help right about now...and clothes, clothes would be of the good!

The Space Between by untouchable [PG-13]

Instead of taking Psych 101 with Willow, Buffy decides to take a poetry class.

Unconditional by violettathepiratequeen [G]

Spike dusts Drusilla at Buffy's request, but Buffy isn't prepared for the state she'll find him in after the deed is done.

I Fought the World for Your Hand (Give My New Body a Chance) by williamthebloodied [NC-17]

On a scale of 1-10, Buffy’s idea for her Halloween costume this year probably fell on a precarious 5. It could be great, doing everything she hoped and more for both she and Spike. On the other hand, it could easily fall down the wrong side of the slippery slope into majorly bad, rehashing things best left demolished in the past. Also, recycling ideas was not the best look. But, if it worked the way she envisioned, with a hope and a prayer…it would eclipse that concern. or Buffy dresses up in 1870s fashion for Halloween and a whole lot of love ensues.

Out of the Grey by xaphania [NC-17]

In the days following the Hellmouth’s collapse, Buffy finds herself craving time alone. A series of apparently random decisions draw her to the coast of England, where she has to deal with the possibility that Spike might not be so dead after all.

So Much Depends by yellowb [R]

All Buffy has to do is go back in time and grab the gem of Amara without being seen. It's a simple plan.

#Buffy The Vampire Slayer #btvs #spuffy #ficrec #reading challenges

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invisible-pink-toast · 2 years

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was rewatching 7x19 empty places and that scene where they throw buffy out of her own house makes me SO MAD (spike is totally right, they are sad sad ungrateful traitors) but with keeping some of the less-than-stellar writing choices of s7 in mind i can see where it came from.... for most of the characters

the potentials: are scared, are dying, don’t have superpowers. they nearly died again and have connected more with faith then buffy so i can understand them questioning buffy’s leadership. unfortunately they all conveniently forget that the only reason any of them are alive is because buffy took them in and protected them, let them stay in her house & eat her food (but the way kennedy and rona are written here is very ungrateful and aggressive - hello writers, why did you have to write the only woc in the room as the “bad guys”??)

xander: literally just went through an incredibly traumatising, painful and life altering experience in a battle that was led by buffy. so i think he gets a pass here. also he has often disagreed with buffy (usually relating to spike or angel) but definitely disagreed with her last time there was an awful publicly-gang-up-on-buffy in her living room in ‘dead man’s party’ so it’s actually pretty in character

giles: as much as i love giles in seasons 1-5 (with all his flaws and complications) the way he’s written in s6-7 is so inconsistent and ooc. i think spike hit the nail on the head with the fact that giles is feeling “outdone” and unneeded by buffy, so him being fine with taking away her leadership sucks (and s1-5 giles wouldn’t stand for it) but the way he’s written here... it makes sense.

faith: doesn’t outright challenge buffy’s leadership, but does step up and question what’s happening which... is honestly pretty fair. she is a slayer too. she’s actually the slayer rn. but buffy not trusting faith is also pretty fair (although after willow... a little inconsistent). faith went evil and then mia so next in line or not buffy had to pick up her slack. there was always going to be tension between two slayers with leading, i feel like faith was quite calm and strategic here. she also specifically says she doesn’t want to be leader but no one listens to her

anya: was dissapointed with anya here - her speech doesn’t even make sense. but given that buffy (correctly) tried to kill her when she was a vengeance demon, it’s easy to see that anya would be a little vengeful. there’s hints of this throughout the season, but post-ep5 they don’t really let anya be anything more than comic relief, which is a shame because if there was more build up (and a speech that made sense) i could really see why she’d oppose buffy here

robin wood: buffy literally said she’d kill him if he went after spike again. complicated because spike one of the team’s best fighters who they’ll need, and someone buffy cares about, but to wood spike’s just the vamp that killed his mom. so i get where he’s coming from. he’s also very chill in this scene.

the two characters who i just can’t understand here are:

willow: huh? what? “With everything that’s happened I… I’m worried about your judgement.” willow you turned evil and tried to kill all your friends and destroy the world. and buffy didn’t give up on you! you literally have no right to question other people’s judgements???

could’ve made more sense if they’d kept up this thread from ‘selfless’ - ‘I’m really sorry for letting you down / So I can’t do everything- but I should at least be able to do something. / But you need help, Buffy. I know you, and I know you’ll never admit it, but you need help.’ If Willow was coming from a place of concern for Buffy I could get it. Or if they’d built up Willow’s relationship with Faith, the similarities in their arcs, and Buffy’s distrust of Faith could put doubt in Willow’s view of her relationship with Buffy. but they didn’t. so it’s very left field for willow to suddenly not support buffy.

and of course...

dawn!!!!

dawn what are you doing?????

“Then you can’t stay here. Buffy, I love you. But you were right, we have to be together in this. You can’t be a part of it. So I need you to leave. I’m sorry. This is my house too.”

i?????

i will never understand this. i know a lot of people hate dawn - but i actually love her! i think she’s a great character!! sure she has her moments, but she’s been through a lot of trauma and the writing gets iffy with other characters throughout the seasons too. but i just don’t understand dawn here.

she has not always had buffy’s back - because dawn’s a teenager and she didn’t always understand what was going on. but dawn knows exactly what’s going on here??

this is the sister who defied everyone and refused to let dawn die - and sacrificed herself instead. the sister who came back from the dead and had to put herself back together one piece at a time. the sister who had to smile through her grief and take on a shitty job so that she could be dawn’s guardian and pay the bills. like the last big buffy-dawn moment was in ‘him’ when buffy fought through the love spell and once again risked her own life and saved dawn’s

so dawn betraying buffy here comes out of nowhere!

when i saw this for the first time and everyone was on buffy, and dawn finally stood up, i was so relieved. i thought someone would finally be on buffy’s side. for dawn to kick buffy out of their house is even more extreme then the others wanting faith to lead. i just don’t get it. it feels very ooc and is never resolved.

so i’m just going to pretend that instead of andrew going with spike - dawn is the one who goes with him!

that honestly makes sense. buffy would want dawn away from danger, she trusts dawn with spike. also then we would get dawn-and-spike scenes!! because i love their relationship! and s7 ruined and then forgot about it!! so they can make up and reconnect.

and then dawn wouldn’t be there for the coup. because if a well-written dawn was there when everyone betrayed buffy, she would’ve been throwing hands and following her sister out the door. also with willow her not supporting buffy is either properly built up, or she is the only one to support buffy and is outvoted. and i can see andrew just not saying anything because (despite being a murderer) he’s kind of nonconfrontational lmao

so then when spike and dawn get back to the house, they can both be shocked and outraged. and then either spike can leave dawn there (because someone with sense needs to be around to defeat the apocalypse) or dawn comes with him to find buffy and we get some quality buffy-dawn-spike in their own weird little family unit moments. dawn could even leave the room for spike to give buffy his big speech in private.

but dawn would never betray her sister.

#btvs #buffy the vampire slayer #meta #btvs meta #buffy summers #dawn summers #summers sisters #willow rosenberg #rupert giles #xander harris #anya jenkins #faith lehane #robin wood #spike #season 7 #btvs s7 #my post #my meta

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girl4music · 2 years

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Buffy Summers and why she is a legend/Why I love Season 5 and it’s finale.

If there’s any character in the Buffyverse that I feel is shitbagged on the most in it it’s Buffy Summers. It’s like they decided to give us a chosen hero but then made her apologize for being one - the audacity! The hypocrisy! In a way it’s like everyone in this show except Buffy Summers is the Watcher’s Council because we’re all supposed to Watch her. Not interact with her and feel for her like a caring counterpart. And I don’t talk about her anywhere near as much as I should because I just feel like it’s a mute argument. I’d be essentially screaming with my mouth shut when it’s really open because no one will hear me. It is so frustrating for me to see the lead character also be the character that is made out to be the martyr. It’s like every time this character voices her opinion on anything - worries about anything - is confused about anything - is scared about anything… She’s suddenly extremely selfish for it. And okay - I get that that’s the point of her character’s theme. But Jesus… it’s a lot…

A huge part of the reason why I love the Season 5 finale so much is because the first choice Buffy makes that matters is the one that releases her of all responsibility as a Slayer while simultaneously adhering to it. It’s like she found the loophole in the system of Slayerage. And sure - that loophole meant she’d have to die. But least it would be on her terms. Least it would be her CHOICE. And it really was the only choice that was consistent with WHO SHE IS as a person and HAD TO BE as a hero. In that sense it was such a relief to watch her die how she did. And when I think about how devastatingly sad that is… I fall in love with Season 5 and the finale for it all over again.

It could be said that Season 5 is the most painful and stressful time for Buffy. Everything piles on top of her to take care of both as ‘The Slayer’ and as a regular person: Dawn, Joyce, Glory, Riley, the Scoobies, and learning about and understanding her Slayer heritage. But the finale is such a clever conclusive end to all of it because she takes all that pain and stress and she moulds it into something that resembles a sanctuary for her. And yeah… it’s suicidal to choose self-sacrifice but it’s also cathartic. It’s rarely spoken of because it’s a controversial subject but it’s a release in every way when you can go out YOUR WAY when your life feels more like a burden than a gift. This makes me think that part of the peace Buffy felt in her “Heaven” was the way she died. The way she let go. Of life, of love, of duty and of herself. By throwing herself into a portal to completeness. Her time was up and she was the one who decided it. It’s a majestic finale as it’s the one that puts Buffy first. It’s simultaneously the end to Buffy Summers and ‘Buffy the Vampire Slayer’. Those final four episodes of Season 5 are fucking masterpieces because it’s all about choice and about the situations, circumstances, actions and emotions that are involved in choosing - in making a final choice. The thing is Buffy is never allowed that throughout all prior seasons. The ability to make a choice. Her own choice. I’m not saying she doesn’t make choices. She does. But they’re for the greater good of everyone and everything but herself. Or they end up being the cause and effect for more damage or trauma for the character. And that’s just not fair or right. The way I interpreted her death - her sacrifice - was a choice more so for herself than anyone or anything else and that’s why I absolutely love it.

They gave us an archetypical hero and the writers and Sarah Michelle Gellar turned her into a legend because why ever should a hero not be allowed to be selfish sometimes? Not be allowed to have agency? Not be allowed to be a human being? Buffy’s challenge wasn’t to be a hero. That was her responsibility. Her challenge was to be a person. Specifically her own person. Her fight was for free will. Giving everybody else the same responsibility and destiny is a good way of winning that fight, sure. But the best way was to release Buffy of it entirely and have that release be of her choosing instead of someone else choosing for her. I am most definitely on the side of the argument that she never chose to be the Slayer to begin with… so why the fuck should she make it her entire identity? Why should her personality be of that of which she MUST do and never what she WANTS to do? Why is that expected?

I could never be a hero. I could never be famous. I could never tolerate being notorious for my existence. I could only ever be myself and all iterations of that process of selfness. God damn that’s more than enough for me. Just to mentally and emotionally survive is absolutely enough for me. And honestly, if I was forced to do something beyond that at any point in my lifetime, the first thing I would think of to do is throw myself off a fucking tower too. No, my life is my own. I choose how it starts, how it ends and all the stuff in the middle. So if I was in Buffy’s shoes at any point in my life - I would kill myself too. Having the weight of the world on your shoulders is far too much when the weight of yourself is already heavy. And I think there’s a misunderstanding to living and dying in the general consensus population that makes this perspective seem so taboo and wrong. To use a quote from my favourite TV show of all time: “It’s not how long you live that matters, it’s how well you live.” - Talus, ‘Death In Chains’ - ‘Xena: Warrior Princess’. If all you had to live for was to make sure that everybody else could live,… how is that fair or right? It isn’t. That’s why I think Buffy Summers is a legend. She re-defined what being ‘The Slayer’ is and would be. Yes, she realized that she was the law but she also realized that she was neither above it nor under it. She knew she wasn’t a God but never once stripped herself of her own divinity at the same time. And people should learn from her example. Human beings are not walking pawns (Anya interjects: “Or prawns”) in the game of life. They ARE life. And there shouldn’t ever be any “hero” of any being on this planet but oneself.

I’ve said this several times now in regards to Angel. If you take choice away, what’s the point of any redemption or corruption story? What’s to learn from it? “It’s my obligation.” No! Fuck that! It’s everybody’s obligation! In this way ‘Chosen’ was also a good finale but it wasn’t a completely conclusive one because for it to be completely conclusive, Buffy should have gotten a lifetime long vacation. A retirement. She was done. She decided that she was done through death. You can argue that she rescinded that decision when she came back to life, but I don’t think she ever did. It was chosen for her too. She simply just accepted that she could never be truly done because being a Slayer wasn’t just a job for her. It was in her nature. Being a hero wasn’t just a responsibility. It was her destiny. But if she was made to experience it in the first place, she should at least be given free reign to govern it. And she did, so I am okay with the show finale despite how much I hate Season 7 as a whole but Season 5 did it completely right for me. Buffy (the character and the show) ended succinctly and conclusively. The theme of self-sacrifice in Buffy can be interpreted as suicide. That’s certainly a viable and logical interpretation. But because choice comes with it, it can also be interpreted as a relieving of a weight so heavy to carry that one would be crushed under it and tending to and bandaging the wounds from it forever. Buffy was thoroughly exhausted so she chose to give up in the only way that would not be viewed as selfish. And when that revelation came to her, she was ready. She knew it was the only way in more ways than one. When she dived into that portal, that was the one and only time in her life that she ever truly lived for herself.

#buffy the vampire slayer #buffy summers #sarah michelle gellar #season 5 #finale #tough love #spiral #weight of the world #the gift #character representation #character development #self-sacrifice #suicide #hero #the slayer #choice #chosen #character study

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herinsectreflection · 3 years

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I Don't Sleep on Bed of Bones: The Slayer as a Killer Across the Seasons

A pretty constant question throughout Buffy's arc - arguably the central question of the entire show, that Buffy must answer, is "what is a slayer? What does being The Vampire Slayer mean?". And a major part of that is the question of whether a slayer is just a killer. It's a question central to S5, but ripples throughout the rest of the show too, with some of the most iconic scenes in the show in converstion with each other around it. Inspired by an ask I received about this from @potterkid, I took a look at how this idea develops and resolves itself over the course of the show.

In S1, being the Slayer means accepting responsibility. It's metaphor for growing up - a metaphor that recurs throughout the show along with other ideas, but is strongest in S1. Buffy is torn between her teenage/human wants and her adult/supernatural responsibilities. She accepts her mortality and her duty (fighting the Master), and wins when she manages to integrate that with her personal desires (fighting the Master in a kickass prom dress with her friends and boyfriend). There's some stuff around the classic superhero idea that being around the hero is dangerous -e.g. in Never Kill a Boy on the First Date, but not much on the idea of a Slayer being a killer exactly.

In S2, being the Slayer means making hard choices. It means accepting that sometimes all your options are bad ones, but choosing one anyway, even at personal cost. This is introduced through Ford's story in Lie to Me, with Buffy's words to him forming one of the core thesis statements of the show ("You have a choice. You don't have a good choice, but you have a choice."), and it's climaxed beautifully in the tragic ending of Becoming. There's not much direct allusion to the idea of Buffy being a killer here, but this is a vital moment in that discussion. Ultimately, Buffy does make the decision here to kill Angel - not to slay Angelus, but to kill him. To take the life of her ensouled lover in order to save others. It's kind of the opposite of the decision that Ford makes - the best of two bad choices. It's the classic trolley problem, and Buffy's hand is on the lever by design - she has to make that choice because she's the Slayer. We will see this moment returned to again and again as this Slayer-vs-Killer theme develops.

Also, Ted is a very important episode for later. Buffy herself feels guilty specifically because she used her slayer powers on what she thinks is a regular human, and therefore killed him. Specifically, being the Slayer made her a Killer. It's also notable that this is where the idea of Buffy having a free reign to kill is first introduced - by Buffy's original shadow self in Cordelia no less.

Cordelia: I don't get it. Buffy's the Slayer. Shouldn't she have... Xander: What, a license to kill? Cordelia: Well, not for fun. But she's like this superman. Shouldn't there be different rules for her? - 2x12 Ted This isn't explored massively here but will be revisited again and again going forward.

S3 is where this theme really comes into focus. Faith enters as Buffy's shadow self and a representation of hedonism. How that manifests is as a Slayer who gives herself a license to Kill. She posits the idea that as slayers, they can and should decide who lives and dies.

Faith: Something made us different. We're warriors. We're built to kill. Buffy: To kill demons! But it does not mean that we get to pass judgment on people like we're better than everybody else! Faith: We are better! - 3x15 Consequences

Obviously, this is something that Buffy has to reckon with and fight against. But there is a glimmer of truth here, because at the end of S2, she does take the power of life and death into her own hands. She is faced with the choice between Angel and the world and decides that Angel should die. She had to, that's the position she has to be in because she is the Slayer. She has to be a Killer because she is a Slayer. So the two are intertwined.

More than this, Faith is someone who at least appears to revel in the kill. Up until now, we hadn't really seen Buffy enjoy being a slayer, but Faith does. Buffy is genuinely drawn to that, to slaying for pleasure. The equation of slaying/killing and sex for Buffy is first explicitly drawn by Faith in this season. ("Isn't it crazy how slaying always makes you hungry and horny?"). Slayers are very much like vampires in that respect, blurring the line between sex and death. In general, Faith introduces the idea that Buffy is drawn to killing - not just to protect people (the ideal of a Slayer), but for its own benefit. That's something that Buffy continues to struggle with going forward.

I have said before that Faith in S3 is an echo of Angel in S2, both in Buffy's relationship to them both and how that shifts mid-season, and in how it ends. In Graduation Day, Buffy again is given the power of life and death. This time, it's more personal - she can stop Angel dying by killing Faith. It's not such a straightforward (for want of a better word) decision as Angel .vs. the literal entire world, it's just the value of one life against the other. Another trolley problem, and it's not an easy choice, but it's still a choice. Just as she chose the lesser evil in killing Angel in S2, she kills the person filling the Angel role in S3. And this time, the choice is explicitly tied to the idea of being a Killer. Faith is set up as the person that Buffy could be in a slightly different world, and that person is a Killer, as Faith herself claims.

"What are you gonna do, B? Kill me? You become me. You're not ready for that, yet." - Faith Lehane, 3x17 Enemies

"You did it, B. You killed me." - Faith Lehane, 3x22 Graduation Day

In the act of choosing to pull the lever, Buffy has to kill. In the act of killing, she has become her dark mirror. In the act of defeating/becoming Faith, she becomes again the sole Slayer. Being a killer and a Slayer again intertwined. It's interesting here that she then makes the decision to feed herself to Angel. She unravels the trolley problem by throwing herself on the tracks. It's fascinating that between the dual trolley-problem finales of Becoming and The Gift, where in the first Buffy chooses to pull the lever, and in the latter she refuses and chooses a third option, Graduation Day exists in the middle as a stepping stone where she kind of does both.

The bulk of S4 is a little lighter on this theme, instead examining The Slayer as a role that must be juggled amongst a series of competing roles as Buffy's life as an adult becomes more fractured. There are flavours of it in Fear Itself, where Buffy fears that her friends will leave and her destiny lies with death and the dead, but otherwise not too much jumps out at me. Except, of course, for Restless, which is so heavy with this theme. It's one of the many reasons why I kind of consider Restless an honourary part of S5, as it's setting up the themes and arcs of S5 as much as it's wrapping up the like from S4.

RILEY: Hey there, killer.

BUFFY: We're not demons. ADAM: Is that a fact?

RILEY: Thought you were looking for your friends. Okay, killer...

TARA: I live in the action of death, the blood cry, the penetrating wound. I am destruction. Absolute ... alone. BUFFY: The Slayer. FIRST SLAYER: No friends! Just the kill.

OK, so SO much to unpack here. This is all within the under-10-minute sequence of Buffy's dream, and in that sequence she constantly shows a fear that she is in fact a "killer". It's clearly strong in her mind. Riley calls her "killer" multiple times, and Adam equates her with him, and with demonhood. I also find it very interesting how she responds to Tara's words, which are very literally describing the act of kiling ("the action of death...the blood cry...the penetrating wound"). She hears that and immediately identifies her as the Slayer, so slayerhood and killing are clearly bound up together in her mind.

Central to her concerns is the dichotomy between friendship and death. This was built up in Fear Itself, and it's central here. Riley and Sineya both frame it as a choice, between friendship and "the kill". This is a fear that Buffy has already, since S1, that her Slayer life will stop her ability to have a "normal" life of friends and family, but it also sets up her arc in S5 nicely. She chooses her friends over becoming a pure instrument of death in Restless, but that does not resolve her ongoing fears. They existed before and continue to dwell even more strongly in her mind, with words that both Sineya and Dracula repeat.

"You think you know ... what's to come ... what you are. You haven't even begun."

This sets the stage for S5, and her arc of choosing between family and being the Slayer. Friendship and family are presented as more of less one and the same a few episodes later in Family, and the choice Buffy is faced with in S5 is another trolley problem - the life of Dawn against the world. This time, it's more specifically tied to the Slayer/Killer dichotomy through the prophecy that Buffy is faced with ("Death is your gift"). This frames the similar choices she faced in Becoming and Graduation Day in the same light, with Buffy even specifically comparing this to the former.

BUFFY: I sacrificed Angel to save the world. I loved him so much. But I knew ... what was right. I don't have that any more. I don't understand. I don't know how to live in this world if these are the choices. If everything just gets stripped away. I don't see the point. I just wish that... I just wish my mom was here. The spirit guide told me that death is my gift. Guess that means a Slayer really is just a killer after all. - 5x22 The Gift

S5 is soaked in this Killer-vs-Slayer idea, and that's part of why I love it so much. It opens with Buffy having gained an appreciation of killing. She goes out not to patrol, but to hunt. To revel in the enjoyment of the kill, just as Faith did. There's also a constant theme of people identifying Buffy as a Killer. Importantly, it's a theme of her believing them. She knows that there is a kernel of truth there, and it develops from a subconcious worry in Restless to a more concrete fear in Intervention, where Buffy explicitly says that she is afraid that being the Slayer means losing her humanity and ability to love, and become nothing more than a "killer". Eventually, Buffy is so ground down by it that when The Gift rolls around, she simply accepts that the Slayer is "just a killer" as an inevitability.

BUFFY: Yeah, I prefer the term slayer. You know, killer just sounds so... DRACULA: Naked? - 5x01 Buffy vs Dracula

SPIKE: Death is your art. You make it with your hands, day after day. That final gasp. That look of peace. - 5x07 Fool for Love

FIRST SLAYER: Death is your gift. - 5x18 Intervention

I also like the way that Joyce is repeatedly linked to this idea. Buffy's response to Sineya points to Joyce's death as a rebuttal to the idea of death being a gift ("Death is not a gift. My mother just died. I know this."). Buffy talks about Joyce just before accepting that "a slayer is a killer" in The Gift. Spike's speech about Slayer's having a death wish comes immediately before Buffy finds out that Joyce is going into hospital. The idea of the Slayer as an instrument of death, killing every day, is juxtaposed against the mundane horror of what death is really like, as demonstrated in The Body. As the Slayer, Buffy must cause death, but this is what death looks like. It's hard and painful and mortal and stupid. Eventually Buffy reaches a point where she just can't do this anymore. She can't live in a world where she must choose to be a killer, because she understands death more now than ever.

It's here that the show explicitly connects the ideas of utilitarianism and being a killer. Buffy says that killing Dawn to save the world (and by association killing Angel to save the world, or killing Faith to save Angel), would make the Slayer "just a killer". This goes back to S3, and Faith arguing that the death of one innocent was washed out by the many people that they save, and that being Slayers gives them the right to make that calculation. Tara points to Giles in this episode, the voice of utilitarianism, and identifies him as a killer. Giles himself identifies himself as one when he kills Ben, and here draws a line between being a utilitarian/killer, and being a hero.

BEN: Need a ... a minute. She could've killed me. GILES: No she couldn't. Never. ... She's a hero, you see. She's not like us.

Some people criticise the moral absolutism of this, and could very justifiably argue that killing Ben, or even killing Dawn, would be the most moral thing in this situation. Who are we to say that Dawn's life is more valuable than the lives of a thousand other 14 year old girls, with families of their own that love them just as much as Buffy loves Dawn? But within the context of the show, I think it makes sense for them to reject utilitarianism. Buffy is a Sisyphean story. There will always be another apocalypse after this one is stopped. There will always be another impossible choice with innocent lives in the balance. Through that lens, the idea of "killing one to save a thousand" becomes meaningless, because there's a thousand apocalypses, and if you kill one to stop them all, then you've killed a thousand. That's how Buffy feels - she killed Angel, she killed Faith, now she has to kill Dawn? Where does it end? Eventually it all just gets stripped away, so what's the point? There's no winning move here. The only way to break the cycle is to change the game.

We should also keep in mind Buffy's words at the start of the episode. She fears that the Slayer is "just a killer", but she is also identified by the guy she saves in the alley in the opening scene as "just a girl". And Buffy agrees ("That's what I keep saying."). Buffy is The Vampire Slayer, which dictates that she must make these impossible choices, but she's also Buffy, which means she is a human being with the power of free will. She gets a choice - not a good choice, but a choice. As a human being, she can reject the options in front of her and find a third way. She can transform the whole game, and turn "Death is your gift" into an empowering statement. This was heavily foreshadowed of course - the Guide in Intervention outright stated that Buffy was full of love, and that "love will bring [her] to [her] gift". But it takes Buffy working through these fears and emotions and realising that she simply can't take Dawn's life. She chooses a new way. She avoids being a killer by rejecting utilitarian ethics. To paraphrase The Last Jedi, she wins by saving what she loves. Ultimately, she's not a killer, but a girl, a friend, a sister, a Slayer - a hero.

So season five is very much the climax and resolution of this theme. Very few themes ever disappear entirely from this show though, and this one continues to echo throughout the show. In S6, Buffy again fears she is slipping into darkness. That there is some kind of darkness that is innate within her. But where in S5 this was a fear that she recoiled from but at times seemed inevitable, in S6 it is something that she is drawn towards, that disgusts her but that she takes a kind of comfort in, because it's easier than facing the mundane reality of her depression.

This yearning for her own darkness takes the physical form of Spike, who she uses for what is basically sexual self-harm. Spike steps into Faith's role as Buffy's shadow self for much of the later seasons, and , and like Faith he represents killing as hedonism, and as sex. There's no vampire who so aggressively blurs the lines of sex and death/violence as Spike. Her fear that killing is part of her nature, and her fear of her own sexual desire, are very much one and the same. When she breaks down in Dead Things, she talks about the darkness within her, and of her shame over her own sexuality.

Spike also repeats Faith's utilitarian justifications from Consequences in the episode which forms the climax of Buffy's self-destruction, Dead Things. When Buffy attempts to metaphorically commit suicide by turning herself into the police, she does it while constantly identifying herself as a killed. She repeats some variation on "I killed her" four times in just two scenes. She wants to be punished for being a killer, and not protected for being the slayer. She has grappled with this several times, and is still resolute that being the slayer does not give her a license to kill, but this time she is desperate to be seen as a killer, to give justification for her own self-hatred.

The final way S6 explores this idea is with Willow. When she is after Warren, Buffy tries to stop her, not for Warren's sake but for Willow's. She knows that taking a life changes a person, and implicitly draws on the first time she chose to take a human's life, the moment she "became a killer" on that rooftop with Faith.

Buffy (re: going to kill Faith): I can't play kid games anymore. This is how she wants it. Xander: I just don't want to lose you. Buffy: I won't get hurt. Xander: That's not what I mean. - 3x21 Graduation Day

XANDER: She should be coming down at some point, shouldn't she? I mean, back there she was out of her head ... running on grief and magicks. BUFFY: Doesn't matter . Willow just killed someone. Killing people changes you. Believe me, I know. - 6x21 Two to Go Killing Warren might have been justified given what a complete piece of shit he was - just as killing Angel was justified, just as killing Faith was, just as killing Ben was. That doesn't matter, because Buffy still recognises that the act of killing leaves permanent psychological scars, which she is still bearing.

In S7, we get the final major exploration of the "does the Slayer have a right to kill" idea in Selfless. Here, Buffy seems to have reached the conclusion that Cordelia, Faith and Spike (all her shadow selves) were right, and she does, in fact, have the right to pass judgment because she's the Slayer, when she decides she has to kill Anya.

"It is always different! It's always complicated. And at some point, someone has to draw the line, and that is always going to be me. You get down on me for cutting myself off, but in the end the slayer is always cut off. There's no mystical guidebook. No all-knowing council. Human rules don't apply. There's only me. I am the law." - 7x05 Selfless

However, I don't think the show wants us to take this as gospel. Buffy is conclusively proved wrong in this episode, since killing Anya doesn't work, and it's Willow who finds a third option that saves the day. In S7, the idea of the Slayer-as-Killer is more an incidental theme, while the central exploration is the idea of "one girl in all the world". It explores the nature of that tragedy, that Buffy is by definition alone. Because of this, she necessarily must be a killer. She does have to pass judgement, because there is nobody else capable of it. She has to be the one to hunt and kill vampires. She has to face the choice to kill Angel, to kill Faith, to kill Dawn, to kill Anya.

This is where the theme ends up - as a tragic inevitability. Buffy must always make that choice. Making the selfless choice to kill her boyfriend doesn't stop it. Avoiding the choice and dying herself doesn't even stop it. That boulder just rolls down the hill again and again, and Buffy is the only one who can push it back up. The Slayer is a killer because the Slayer is alone. So the only way to break that cycle is for the Slayer to no longer be alone. There are still elements of The Slayer, and of Buffy as a person, that are linked to death and killing, but she has mostly made peace with those parts, and now can be free of having to be "the law" too.

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hamliet · 4 years

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The Girl Who Gets to Have It All: Buffy Summers

So with @linkspooky‘s encouragement, I have binged Buffy the Vampire Slayer and relived my childhood culture. And, it's a 10/10 for me. Not that it doesn't have flaws, but it's genuinely one of the best stories I've seen, with consistent character arcs, powerful themes, and a beautiful message. It's also like... purportedly about vampires and demons and superpowered chosen ones, but it's actually all about humanity.

Buffy was able to be a teenage girl, allowed to like the things teen girls are scorned for (boys, shopping, etc), to be insecure about the thing teenage girls are insecure about (future careers, dating, school, parents), and to be a superhero with its good and its bad aspects. The story wasn’t afraid to call Buffy on her flaws (sometimes she got in a very ‘I am the righteous chosen one’ mode) and to respect and honor each of her desires (to be a good person, to be loved, and more). The story listened to what she wanted and respected her desires, giving her the challenges needed to overcome her flaws while also never teaching her a lesson about wanting bad boys or romance is silly or any manner of dark warnings stories like to throw at teenage girls.

It respected teenage girls--nerdy girls like Willow, jocks like Buffy, lonely wallflowers with trauma like Dawn, and popular/snobby ones like Cordelia, girls gone wild like Faith. It never once reduced them to the stereotypes that were lurking right there: each character was fully rounded, human, flawed and yet with respected interests and goals. This is so rare for a story that I’m still in awe.

The story as a whole follows Buffy from 15 to 21, of her as she grows from teenager to adult. She acts like a teenager and grows to act like a young adult, wrestling with loneliness and duty. The adults, like Giles, Joyce, and Jenny, are not perfect either, but neither are they “bad parents” or “bad mentors” necessarily. Joyce in particular says something terrible to Buffy, but she tries to do better, and it’s rare to see a parent in YA stories shown with such nuance. Basically, it wrote the long-lasting adult characters as human beings, too.

Speaking of growing up, I appreciated how Buffy’s love interests mirrored this. Angel was someone Buffy loved and admired, wanted to be like, but who was always either extreme good or extreme bad, and combined with Buffy’s own tendencies towards black-white thinking, made for a beautiful relationship to help her grow, but didn’t necessarily form a foundation for a long-term partner. Spike, on the other hand... they both saw each other at their worst and were drawn to each other even then, and were inspired to become better because they couldn’t bear to be a person who treated the other person so wrongly. They pushed each other to become the best them they could be, and believed in each other. Also, Spuffy is an enemies to lovers ship for the ages.

(Also, most of the other ships were well-done or at least can be understood. Riley was very obviously wrong for Buffy which paralleled Harmony and Spike in being 100% wrong for each other. Cordelia and Xander were a fun ship even if we all knew it would never last, and Willow and Oz were beautiful and cute. But Xander and Anya and Willow and Tara? OTPs. As were Giles and Jenny, the librarian and the computer teacher.)

That said, it’s not a perfect series. No story is. All of the characters and ships had problematic aspects to them worthy of critique, and the writing is very 90s in a lot of ways. It’s a product of its time, and in many ways it’s good society has progressed beyond some of the tropes/metaphors used in the show. In other way, though, the show was ahead of its time, and in a good way it wasn’t bound by the fear of purity policing with its takes on redemption (many characters would never fly today).

So, in order of seasons ranked from my very favorite to my “still enjoyed it very much” (no season was actually bad, imo), here’s my review. I’ll also review my top 10 villains in the show, because Buffy does villains very well in terms of the redeemable and irredeemable.

Season 7: Yep, the final season was my favorite.

Overall Opinion: Buffy's finale is literally "f*ck them men, our power is ours" and while it seems cheesy it actually works (also, f*ck in both a literal and figurative sense). The series strongly hit all the themes: love as strength, and redemption. Buffy consistently shows love as her strength--*all* kinds of love. Friendship w Willow/Xander, familial with Joyce/Dawn, romantic with Spike/Angel. These types of love are also never pitted against each other as is so often the case in current-day media. It's beautiful. Also, Spike’s confrontation with Wood was so powerful in terms of exploring forgiveness, redemption, and reconciliation: where they overlap and where they don't, and what it means to move forward.

Unpopular Opinion: I have seen a lot didn’t like the inclusion of Potential Slayers, and while I agree they could have been better incorporated/characterized, it was a great way to show Buffy’s final stage of growing up to be ending her chosen one status and projecting/multiplying her powers over the world.

Biggest Critique: Kennedy was female Riley--the anti-Tara to Riley’s anti-Angel (by ‘anti’ I mean opposite in every way). Kennedy was annoying and immature. Her role, like Riley’s, was less about exploring her as a character and more about her just being stamped as “love interest: lesbian.”

Favorite Episodes: Beneath You, Lies My Parents Told Me, Touched, Chosen

Season 6:

Overall Opinion: I said this on Twitter, but I felt like this was Buffy’s The Last Jedi or Empire Strikes Back moment. It is polarizing and dark, deconstructing the tropes it stands on--but by digging to the core of these tropes, it actually makes what’s good about them shine brighter. Everyone’s enemy was the worst versions of themselves. Giles left Buffy, Willow's struggle to relate to the world led to her trying to destroy it, Buffy hurt everyone through her anger, Xander abandoned Anya at the altar, Spike... yeah. It ages well as an integral part of the story, and the Trio were eerily prophetic.

Unpopular Opinion: Dawn is a great character with a good arc. A traumatized teen acting out and struggling to come to terms with loss and identity? She wasn’t whiny; she was realistic.

Biggest Critique: Willow’s addiction coding (I’ll discuss this below) and Seeing Red as an episode. I see the argument for both of its controversial scenes from a narrative perspective: Willow starts the season not grieving Buffy but instead being determined to fix it with magic and needs to learn to grieve, but. Still. Bury your gays is not a good look. For the Spike scene... he conflates sex/passion and violence (”love is blood, children” is something he said way back in season 3), but like Tara’s death, it had more to do with Spike (as Tara’s death did for Willow) than with Buffy’s arc, and as for the actual execution... they really botched that. Did it like... have to go on that long or go that far? No. Also, the framing was good, but inconsistent with the rest of the series (Xander to Buffy in the hyena episode, Faith to Xander and to Riley, etc.)

Favorite Episodes: Once More With Feeling, Smashed, Grave

Season 3 (tied with Season 5):

Overall Opinion: The opening continuity of Buffy meeting Lily/Anne after saving her life in Season 2 was sweet. The Witchhunt episode had really powerful subtext: stories of deaths that aren’t even true are actually demons that possess the town and convince them to turn against their children in the name of protecting the children. It’s a good commentary on, oh, everything in society. Faith’s character arc was fantastic, and her chemistry with Buffy was off the charts (look, I may be Spuffy all the way, but Fuffy has rights). The finale was satisfying in so many ways, seeing the entire graduating class unite to destroy the Mayor and the school with it, symbolizing Buffy et al’s readiness to move on to college. Oz's relationship with Willow was very sweet and meaningful for a first romance for Willow.

Unpopular Opinion: I actually don’t really have one. Maybe that the miracle in Amends was earned? I think you can make a decent case that Season 3 is the best written of the seasons, but can only truly be thematically appreciated to its full potential in the light of subsequent seasons (which finish Faith’s arc and deconstruct Buffy’s).

Biggest Critique: It forgot Buffy killed the hyena guy in Season 1, making her continual insistence that she can’t kill people very ?????

Favorite Episodes: Lovers Walk, Amends, Graduation Day Part 2

Season 5, which ties with Season 3:

Overall Opinion: The entire season is about family and what it means, from Tara’s to Buffy’s to the Scoobies. I loved Glory aka Enoshima Junko as the Big Bad, I loved Dawn’s interesting meta commentary on retconning (like, the fact that she’s retconned in matters), and most of my ships are still alive. Joyce’s relationship with Spike is one of the most heartwarming aspects, and Spike’s arc’s desire is clearly highlighted: he wants to be seen as a person. The episodes after Joyce’s death are the most honest portrayals of grief I’ve ever seen, and absolutely brutal to watch.

Unpopular Opinion: Buffy’s choice at the end seems a deliberate inversion of her choice at the end of Season 2 (sacrifice a loved one to save the world), but it actually isn’t: much like at the end of Season 2 where Buffy skips town because she’s devastated after killing Angel and doesn’t want to sort out being expelled, her mom knowing she’s the slayer, and her own trauma, Buffy’s sacrifice here was as much about her wanting the easy way out of relationships, family, college, etc. as it was about saving Dawn. Buffy’s death is coded as a suicide, which Season 6 emphasizes as well.

Biggest Critique: Like Season 3, I don’t have a lot to critique here. I wish the suicidal coding had been a little more obvious in Season 5 itself, but also I’m not sure it could have been more obvious; it’s pretty apparent if you pay attention. Maybe also that Buffy and Riley’s relationship failing should have been more squarely blamed on Riley, you know, being insecure and cheating.

Favorite Episodes: Family, Fool for Love, Intervention.

Season 2:

Overall Opinion: Heartbreakingly tragic but exciting and revealing at the same time. It asked the viewer interesting questions about redemption and forgiveness and atonement through Angel being honest about his past, and then decided to show us his past now reenacted, challenging us. And still, we saw them save him in a parallel to saving Willow in Season 6 (but Season 2 was tragic because it wasn’t enough, while Season 6 was not). Jenny’s death was agonizing, and the scene were Angel watches Buffy, Willow, and Joyce get the news through the window was powerful. We didn’t have to hear them to get the grief.

Unpopular Opinion: Jenny’s death isn’t a fridging; it works for her arc too when you consider her history. She worked to save the person whose life she was tasked to ruin, and it cost her her own--yet she still succeeded, because Jenny brought joy and wisdom to the show. Kendra’s death, on the other hand... was because they needed the stakes to be high--but we already knew that before she died. So, her death was useless.

Biggest Critique: The subtext was Not It. It was essentially “do not have sex. Your older boyfriend will lose his soul, kill your friends, you’ll lose your family, your school, your home, and have to kill your true love or else hell will literally swallow earth.”

Favorite Episodes: School Hard, Passion, Becoming Part 2.

Season 1:

Overall Opinion: I really liked it; it’s just lower on this list because the others are just better. It’s a great introduction to the series and to its characters, from Giles to Buffy to Willow to Jenny to Cordelia. It has great subtext a lot of the time (for example, Natalie French as She-Mantis is a literal predatory bug who engages in predatory behavior with students). Additionally, it subverts the typical YA trope of two guys and a girl, in which the girl is usually the least interesting character. Buffy and Willow were both fully fledged characters from the beginning with distinct strengths (even before Willow became a witch, as she wasn’t one in season 1 yet), while Xander was the more ordinary of the group.

Unpopular Opinion/Biggest Critique: Xander’s arc showed its first flaws that unfortunately continued throughout the series: his writing was either very good or very indulgent in ways it never was for other characters. (cough, the hyena episode, cough, in which he gets to skirt responsibility--and acknowledges that he is skirting it--for something the show will later hold others to account for). Xander’s just kind of inconsistent, which weakened his character over all. (Which is why both his love interests--Cordelia and then ultimately Anya--were good for him: they did not indulge him.)

Favorite Episode: Witch, Nightmares.

Season 4:

Overall Opinion: it’s still a good season. It’s a good portrayal of college and the growing pains of branching out, the strains of college growth on relationships (romantic and platonic). It shows us the first hints of Spuffy, giving us some serious Jungian symbolism between Spike and Buffy early on, and does well in establishing Xander/Anya and Willow/Tara as beautiful OTPs. Faith and Buffy’s foiling is fantastic. The Halloween episode was very fun as well. However, it suffers because its Big Bad, Adam, is not all that compelling thematically--yet, he could have been. See, the final battle pulls off the Power of Friendship in a really strong way but notably the season does not end there. Instead, it ends on dreams of each character’s worst fears, continuing what we saw in Nightmares in Season 1. Why? Because it shows us that the characters’ wars aren’t against monsters, but monsters of their own making: their flaws. Adam, as a literal Frankenstein, exemplifies this, but it wasn’t capitalized on as well as it could have been.

Unpopular Opinion: Beer Bad isn’t a bad episode, at the very least because Buffy gets to punch Parker. It’s not one of the series’ best, obviously, but it does give Buffy an arc in that she gets her daydream of Parker begging her to come back, but she has overcome that desire and her desire for revenge. If we wanna talk about bad subtext in Season 4, Season 2′s Not It sex subtext continues in the Where the Wild Things Are episode in this season; it’s a powerful callout of abusive purity-culture churches, until the fact that the shame creates a literal curse undermines the progressive message it’s supposed to send. Also, the Thanksgiving episode (Pangs) is a nightmare of white guilt and Oh God Shut Up White People.

Biggest Critique: Riley is awful. Like Kennedy, he had “love interest:normal” stamped on him and that was it. The thing is, he could have worked as an Angel foil, representative of the normal-life aspect of Buffy to Angel’s vampire/supernatural aspect, but the writers never explore this and seemed to even try to back away from that later on. They threw all the romantic cliches at the wall to see what sticks, from klutzy “I dropped my schoolbooks, that’s how we met” to cliché lines that had me rolling my eyes. Do you know how bad a romance has to be to make me dislike romantic tropes?

Favorite Episodes: Fear Itself, Hush, Restless

Villain rankings:

Dark Willow, the only villain to be truly sympathetic. While the addiction coding was insensitive and, while unsurprising for its time, aged extremely poorly. That said, Willow’s turn to the dark side after Tara’s death worked well for her character and the story: it was believable and paid off what had been building since Season 1's “Nightmares” episode (Willow’s inferiority complex).

Glory managed to be genuinely terrifying, and humorous/enjoyable too. Her minions and their numerous nicknames for Glorificus were hilarious, as was her intense vanity. Her merging with Ben--a human being who genuinely wanted to be kind and good--added complexity and tragedy to her role.

The First. A really good take on Satan. The seventh season as well as the First’s first appearance in season 3′s “Amends” had kind of blatant Christian symbolism, and so the First being essentially Satan works. Their disguising themselves as dead loved ones and the subtle manipulation they used to alienate people was really disturbing and well done.

The Mayor, who was a terrible person but a truly good father. He provided an interesting contrast to the normal ‘bad dad’ bad guy character, in that he provided Faith exactly what the other characters refused to: he saw the best in her and offered her parental support, while the heroes didn’t and wound up pushing her away.

The Trio, who were villains ahead of their time: whiny fanboy reddit dudebros, basically. The stakes seemed so much lower than fighting Glory, a literal god, the previous season. But that’s why they worked so well for Season 6′s human themes, and were especially disturbing because we all know people like them. I also appreciated the surprisingly sensitive takes on Jonathan and Andrew, who got to redeem themselves, but Warren did not, and I don’t think he should have either.

Angelus + Drusilla. I’m ranking them below the Trio because Angelus was just sooooo different from Angel that it was difficult for me to feel the same way for him. He was still Angel, so it wasn’t possible to enjoy his villainy, but he also wasn’t nearly as sympathetic as Dark Willow, had no redeeming qualities like the Mayor, and wasn’t as disturbingly realistic as the Trio. However, the emotional stakes were excellently executed with him as the Big Bad, in that you were never quite sure how to feel and it just plain hurt. Also, Drusilla was a favorite recurring character. She was sympathetic and yet batsh*t enough to be enjoyable as a villain at the same time.

The Master, who was just completely camp and really worked as an introductory villain. He was scary enough to believe he was a threat, and was funny enough to introduce the series’ humor as well. He was, like Glory, an enjoyable Big Bad.

The Gentlemen, the one-off villains of Season 4′s Hush who were genuinely terrifying. It’s not as if they got a lot of explanation or any backstory, but they didn’t need it.

Caleb, the misogynist priest. Fitting with the First’s Christian symbolism, Caleb serving as a spokesperson of all bad religious beliefs felt appropriate. He was also a good foil to Warren--being actually supernaturally powered instead of a wannabe--and to Tara’s family in being full-out evil. I despised him.

Snyder. Okay Snyder is not a Big Bad like Adam is, but let’s face it: Adam is lame compared to the other villains. But Snyder as a principal? He was so irritating and yet really well used in the series to critique overly strict, hypocritical teachers. Like, we all know teachers like him. I loved to hate him, and his ending was so satisfying.

#buffy the vampire slayer #btvs #spuffy #buffy summers #dawn summers #spike #angel #cordelia chase #btvs giles #willow rosenberg #tillow #tara maclay #anya jenkins #xanya #xander harris #jenny calendar #kendra young #faith lehane #hamliet reviews

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killianmesmalls · 3 years

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On your comments about Jack: ye-es, in the sense that Jack is a character who definitely deserved better than he was treated by the characters. The way Dean especially treats him reflects very badly on Dean, no question. But, speaking as a viewer, I think the perspective needs to shift a little bit.

To me, Jack is Dawn from Buffy, or Scrappy Doo. He’s an (in my opinion) irritating kid who is introduced out of nowhere to be both super vulnerable and super OP, and the jeopardy is centered around him in a way that has nothing to do with his actual character or relationships. He’s mostly around to be cute and to solve or create problems — he never has any firm character arcs or goals of his own, nor any deeper purpose in the meta narrative. In this way, he’s a miss for SPN, which focuses heavily on conflicts as metaphors for real life.

Mary fits so much better in that framework, and introducing her as a developed, flawed person works really well with the narrative. It is easy for us to care about Mary, both as the dead perfect mother on the pedestal and as the flawed, human woman who could not live up to her sons’ expectations. That connection is built into the core of SPN, and was developed over years, even before she was a character. When she was added, she was given depth and nuance organically, and treated as a flawed, complex character rather than as a plot device or a contrivance. She was given a voice and independence, and became a powerful metaphor for developing new understandings of our parents in adulthood, as well as an interesting and well-rounded character. You care that she’s dead, not just because Sam and Dean are sad, but for the loss of her development and the potential she offered. So, in that sense, I think a lot of people were frustrated that she died essentially fridged for a second time, and especially in service of the arc of a weaker character.

And like, you’re right, no one can figure out if Jack is a toddler or a teenager. He’s both and he’s neither, because he’s never anything consistently and his character arc is always “whatever the plot needs it to be.” Every episode is different. Is he Dean’s sunny opportunity to be a parent and make up for his dad’s shitty parenting? Yes! Is he also Dean’s worst failure and a reminder that he has done many horrible things, including to “innocent” children? Yes! Is he Cas’s child? Yes! Is he Dean’s child? Yes! But also, no! Is he Sam’s child? Yes! Is he a lonely teenager who does terrible things? Yes! Is he a totally innocent little lamb who doesn’t get why what he is doing is wrong? Yes! Is he the most powerful being in the universe? Yes! Does he need everyone to take care of him? Yes! Is he just along for the ride? Yes! Is he responsible for his actions? Kinda??? Sometimes??? What is he???

Mary as a character is narratively cohesive and fleshed-out. Jack is a mishmash of confusing whatever’s that all add up to a frustrating plot device with no consistent traits to latch on to. Everything that fans like about him (cute outfits, gender play, well-developed parental bonds with the characters) is fanon. So, yes, the narrative prioritizes Mary. Many fans prioritize Mary, at least enough that Dean’s most heinous acts barely register. To the narrative (not to Cas, which is a totally different situation), Jack is only barely more of a character than Emma Winchester, who Sam killed without uproar seasons earlier. He’s been around longer, but he’s equally not really real.

I debated on responding to this because, to tell the truth, I think we fundamentally disagree on a number of subjects and, as they say, true insanity is arguing with anyone on the internet. However, you spent a lot of time on the above and I feel it's only fair to say my thoughts, even if I don't believe it will sway you any more than what you said changed my opinions.

I'm assuming this was in response to this post regarding how Jack's accidental killing of Mary was treated so severely by the brothers, particularly Dean, because it was Mary and, had it been a random character like the security guard in 13x06, it would have been treated far differently. However, then the argument becomes less about the reaction of the Winchester brothers to this incident and more the value of Jack or Mary to the audience.

I believe we need to first admit that both characters are inherently archetypes—Mary as the Madonna character initially then, later, as a metaphor for how imperfect and truly human our parents are compared to the idol we have as children, and Jack as the overpowered child who is a Jesus allegory by the end. Both have a function within the story to serve the Winchester brothers, through whose lens and with whose biases we are meant to view the show's events. We also need to admit that the writers didn't think more than a season ahead for either character, especially since it wasn't initially supposed to be Mary that came back at the end of season 11 but John, and they only wrote enough for Jack in season 13 to gauge whether or not the audience would want him to continue on or if he needed to be killed off by the end of the season. Now, I know we curate our own experiences online which leads to us being in our own fandom echo chambers, however it is important to note that the character was immediately successful enough with the general audience that, after his first episode or two, he was basically guaranteed a longer future on the show.

I have to admit, I’m not entirely sure why the perspective of how his character is processed by some audience members versus others has any bearing on the argument that he deserved to be treated better overall by the other characters especially when taking their own previous actions in mind. I’m not going to tell you that your opinion is wrong regarding your feelings for Jack. It’s your opinion and you’re entitled to it, it harms no one to have it and express it. My feelings on Jack are clearly very different from your own, but this is really just two different people who processed a fictional person in different ways. I personally believe he has a purpose in the Winchesters’ story, including Castiel’s, as he reflects certain aspects of all of them, gives them a way to explore their own histories through a different perspective, and changes the overall dynamic of Team Free Will from “soldiers in arms” to a family (Misha’s words). In the beginning he allows Sam to work through his past as the “freak” and powerful, dangerous boy wonder destined to bring hell on earth. With Dean, his presence lets Dean work through his issues with John and asks whether he will let history repeat itself or if he’ll work to break the cycle. Regarding Cas, in my opinion he helps the angel reach his “final form” of a father, member of a family, lover and protector of humanity, rebellious son, and the true show of free will.

From strictly the story, he has several arcs that work within themes explored in Supernatural, such as the argument of nature versus nurture, the question of what we’re willing to give up in order to protect something or someone else and how ends justify the means, and the struggle between feeling helpless and powerless versus the corruptive nature of having too much power and the dangerous lack of a moral compass. His goals are mentioned and on display throughout his stint on the show, ones that are truly relatable to some viewers: the strong desire to belong—the need for family and what you’ll do to find and keep it.

With Mary, we first need to establish whether the two versions of her were a writing flaw due to the constant change in who was dictating her story and her relationship to the boys, which goes against the idea that her characterization was cohesive and fleshed-out but, rather, put together when needed for convenience, or if they both exist because, as stated above, we are seeing the show primarily through the biased lens of the Winchester brothers and come to face facts about the true Mary as they do. Like I said in my previous post, I don’t dislike Mary and I don’t blame her for her death (either one). However, I do have a hard time seeing her as a more nuanced, fleshed-out character than Jack. True, a lot of her problems are more adult in nature considering she has to struggle with losing her sons’ formative years and meeting them as whole adults she knows almost nothing about, all because of a choice she made before they were born.

However, her personal struggles being more “mature” in nature (as they center primarily on parental battles) doesn’t necessarily mean her story has layers and Jack’s does not. They are entirely different but sometimes interconnected in a way that adds to both of their arcs, like Mary taking Jack on as an adoptive son which gives her the moments of parenting she lost with Sam and Dean, and Jack having Mary as a parental figure who understands and supports him gives him that sense of belonging he had just been struggling with to the point of running away while he is also given the chance to show “even monsters can do good”.

I’d also argue that Jack being many ages at once isn’t poor writing so much as a metaphor for how, even if you’re forced to grow up fast, that doesn’t mean you’re a fully equipped adult. I don’t want to speak for anyone else, but I believe Jack simultaneously taking a lot of responsibility and constantly trying to prove to others he’s useful while having childish moments is relatable to some who were forced to play an adult role at a young age. He proves a number of times that he doesn’t need everyone to take care of him, but he also has limited life experience and, as such, will make some mistakes while he’s also being a valuable member of the group. Jack constantly exists on a fine line in multiple respects. Some may see that as a writing flaw but it is who the character was conceived to be: the balance between nature or nurture, between good and evil, between savior and devil.

Now, I was also frustrated Mary was “fridged” for a second time. It really provided no other purpose than to give the brothers more man pain to further the plot along. However, this can exist while also acknowledging that the way it happened and the subsequent fallout for Jack was also unnecessary and a sign of blatant hypocrisy from Dean, primarily, and Sam.

And, yes, Jack can be different things at once because, I mean, can’t we all? If Mary can be both the perfect mother and the flawed, independent, distant parent, can’t Jack be the sweet kid who helps his father-figures process their own feelings on fatherhood while also being a lost young-adult forcing them to face their failures? Both characters contain multitudes because, I mean, we all do.

I can provide articles or posts on Jack’s characterization and popularity along with Mary’s if needed, but for now I think this is a long enough ramble on my thoughts and feelings. I’m happy to discuss more, my messenger is always open for (polite) discussion. Until then, I’m going to leave it at we maybe agree to disagree.

#long post #long ask #so long answer #guys it's 1 am #i hope this made sense #watch me read this after sleep and register things i wish i said #oh well #jack kline #mary winchester #spn #supernatural #spn critical #supernatural critical #kinda?#eh just in case #spn meta #supernatural meta #jack meta

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firemanwhenthefloodsrollback · 3 years

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Who Saved The Day? Season 5

It's been a long time but I am back with the fifth installment of Who Saved The Day? I'll be looking at every episode of buffy the vampire slayer to see who saved the day the most and in what ways. we're heading into the darkest and most complex end of the series and the number two spot is still very much up for grabs. it's getting harder and harder with time to tell who wins the point in each individual episode, and I don't think it's gonna get any easier from here friends.

At the end of season four we left it at:

Buffy: 43

Angel: 5

Giles: 5

Willow: 4

Anya: 2

Faith: 2

Oz: 2

Xander: 2

Other people who only got 1 each: 8

So season 5:

1. Buffy Vs Dracula: Buffy

Nice and straightforward. You kill Dracula twice, you get a point.

2. Real Me: Buffy

Buffy saves Dawn. Good work.

3. The Replacement: Willow

Buffy did avert the violence and stop the two Xanders from escalating things to a nasty place, so I'll hear arguments for that, but Willow actually fixed the situation and put the two Xanders back so I think she was the one who saved the day.

4. Out Of My Mind: Buffy

I really went back and forth on whether it was Buffy or the doctor here. The doctor actually solved the thing that was wrong so a big part of me thinks it was the doctor who did the procedure on Riley, but Buffy won the fight and dealt with Spike and Harmony so.... Buffy.

5. No Place Like Home: Buffy

Another 'nobody won' episode really. I don't know how to choose someone who saved the day here when... the day ended pretty badly. It was either the Monk for giving Buffy the info about Dawn before he died, or Buffy for getting herself and the Monk out of the magic box. I couldn't decide but thought that saving lives had to count as saving the day right?

6. Family: Buffy

My heart aches when I think about Family, seriously. I considered giving the point to Spike because he solved the demon thing, which exposed the Maclays and put the whole business to rest, but Buffy saying she wasn't going to let Tara be taken was more of a 'saving the day' action I think?

7. Fool For Love: Spike

I'm not certain who the day was really saved from here. Yes Riley killed some vampires but I don't think they were the main threat so killing them was more of a fun side project for Riley. I don't think we can really say Spike was the villain? At least for most of the episode. Putting this episode in its big existential context I think by giving Buffy the stories of the two past slayers and his actually fairly true (and useful for the rest of the season) insight into the slayers we can make a solid case for Spike saving the day. Am I biased in his favour? Absolutely, but it's my list! Spike's first point!

8. Shadow: Buffy

Buffy dealt with the snake and with so many other things.

9. Listening To Fear: Buffy

Dawn very much did save Joyce the first time, so there's an argument that she saved the day, but Buffy actually stabbed the thing. So Buffy.

10. Into The Woods: Buffy

Buffy (?) She certainly killed some vampires.

11. Triangle: Willow

Buffy does a lot of pummelling but Willow sends the troll away, which I would call solving the problem at its root.

12. Checkpoint: Buffy

Good speech babe, and well done for getting Giles his retroactive pay checks.

13. Blood Ties: Willow

I'm giving it to Willow and Tara here because they did the spell that transported Glory, and while Buffy's speech to Dawn was far more emotionally significant, the spell was what actually helped. I really want to give Tara a point - my beautiful girl who awoke so much of my soul deserves more than one - but Willow passing out from doing the spell implies to me that she was contributing more magical energy. If you can convince me in the replies that Tara deserves this point I will very, very gladly transfer it to her.

14. Crush: Spike (?)

I'm not happy about this one either. Much though I love him. But we've had episodes before where the person who causes the problem solves the problem and I've been strict with myself in the past about the person who saves the day only ever getting to be the person who actually does the one action that removes the biggest immediate danger. That danger was Drusilla and Spike got her off Buffy sooooooooo maybe I picked stupid rules.

15. I Was Made To Love You: Buffy

Out of every single episode of this show, this is the one where the day is the least saved. It's impossible to look at the ending of this episode and think of anything being okay. But Buffy stops April hurting anyone so, I guess.

16. The Body: Buffy

I'm a huge fan of the fact there was a vampire in this episode, keeping an element of the supernatural in the least supernatural episode this show ever did. It's one of the best decisions this script made to have a single, newborn, not very powerful vampire become a meaningful threat again in a way it hasn't been since very early season one, because the audience really believes that buffy could have been vulnerable to this when she's knocked sideways by grief and it feels menacing in a way that enormous tentacle demons never do. if we define this vampire as the threat in this episode, which it isn't really but it's the closest we've got, then it's buffy again.

17. Forever: Dawn

Dawn's first point. Go dawn, a heart-wrenching first point in a truly harrowing episode. Another example of the person who caused the problem solving the problem but we must be consistent here.

18. Intervention: Spike

This one hurts my heart. Spike's first uncontroversial point, I'd say.

19. Tough Love: Tara

I was originally going to give this point to Willow for getting her and Buffy out of the fight with Glory at the end, but I decided the bigger threat in this episode was Glory offering Tara the bargain where she could give the key up in exchange for her own safety. Tara making such a simple clear moral choice, even when she's terrified, even when she knows Glory could do anything for her, and she isn't even in a good place with Willow, is the bravest thing in this episode and no one else can possibly deserve this point.

20. Spiral: Ben

Not a good episode for day-saving. Ben did a lot more harm than good here but he got Giles' wound stabilised and no one else... saved the day. I'm not really happy about this one so please argue with me.

21. The Weight of the World: Willow

One of my favourite non-combat savings of the day. Willow going into Buffy's mind and convincing her to keep trying to save the world is one of the most interesting and significant day-savings Willow gets in one of my favourite episodes for Willow and Buffy's relationship.

22. The Gift: Buffy

There just aren't any arguments here. She saved the world. A lot.

So at the end of season five we're still very heavily biased in favour of Buffy saving the day, which I don't think is ever likely to go away, but getting more and more episodes where it isn't her with time. New appearances for a lot of the scoobies here and spike is climbing the ranks fast.

At the end of season 5 we are at:

Buffy: 54

Willow: 7

Angel and Giles: 5

Spike: 3

Anya, Faith, Oz, Tara, Xander: 2

And 9 characters including Dawn who have 1 each

Season 6 is my favourite season and also the bleakest, darkest and strangest so I am excited to see what happens to the leaderboard there.

#who saved the day series #buffy #btvs #buffy the vampire slayer #buffy meta #season five

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agentnico · 4 years

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Zack Snyder’s Justice League (2021) Review

It all started with Sonic’s teeth. Ever since fans successfully bullied a studio into reanimating their titular hedgehog character after the abomination shown in the first trailer, fans realised that rallying together (on Twitter) can make a difference. So you’d think it would mean we could all come together to restore world peace and get rid of racism, injustice, poverty, war and negativity of all kind? Nope, nope it does not. But at least we get a better version of a bad DC movie that came out in 2017. I mean, baby steps I guess.

Plot: Fuelled by his restored faith in humanity and inspired by Superman's selfless act, Bruce Wayne enlists newfound ally Diana Prince to face an even greater threat. Together, Batman and Wonder Woman work quickly to recruit a team to stand against this newly awakened enemy. Despite the formation of an unprecedented league of heroes -- Batman, Wonder Woman, Aquaman, Cyborg and the Flash -- it may be too late to save the planet from an assault of catastrophic proportions.

I recall my younger simpler self in 2017 at the early age of 20 soon to be 21, sitting down and watching the new Justice League film with zero to no expectations, as by that point the DC Extended Universe was a trainwreck and was a franchise that was literally falling apart before out unblinking red hay fever filled eyes. However, after watching Justice League I was baffled at the fact that I still managed to be disappointed after having zero expectations! With zero expectations this film took me into the minuses, and we all know I’m not great at mathematics so boy are we in the danger zone when we hit the minuses! Looking back at my review of the film back then, I used extreme yet fitting comments like “generic”, “predictable” “messy” and plain “dogsh*t”. Which is what it was. 2017′s Justice League is exactly how I’d imagine a dog’s poop would look if it was turned into an abstract film! It was truly abysmal. After that I thought I’d never have to talk about this film again. How wrong I was. But, in a rare turn of tables, I am glad that I was wrong...

A little history lesson first. Alright, settle down kids, settle down.... Rob, put the paper plane down, do not throw it, I said DON’T THROW IT! NO! Stop! Stupid child!! Headteacher’s office right now! Also, say hi to your mother for me, okay? I’m having brunch with her on Saturday and you better not be there as you should be doing your homework watching the 4 hour cut of Justice League and questioning your life choices!! Anyway, now let’s have ourselves a history lesson. The topic is - What In The Flying Fudge Happened Behind-The-Scenes Of Justice League For DUMMIES: Condensed Edition. A really condensed version as honestly none of us have the attention span to read loads and I’m probably losing the vast majority of you due to this overlong rambling session. So anyway, to the last couple of readers left, here we go! Following the success of Man of Steel, Warner Bros. gave Zack Snyder the reigns to oversee and create a DC cinematic universe to rival the success of Marvel. And so came Batman V Superman: Dawn of Justice, which turned out to be a bit of a hodgepodge, receiving mixed to negative reviews and though was a box office success, earned diminishing results to what Warner Bros. originally anticipated. However, by the time Batman V Superman released, Zack Snyder was already hard at work on the big superhero team up film Justice League (which was meant to set up many characters and future films for the DCEU) with a lot of filming already underway, so Warner Bros. couldn’t particularly pump the breaks on it by that point, even though they evidently lost trust in the Snyder formula. To be honest, at that point I too lost trust in Snyder’s vision and the DCEU as a whole, but my opinion doesn’t class for a single dime, whilst the opinions of Warner Bros. executives make millions, so there aren’t any hard feelings on my behalf for them not enquiring on my thoughts. Anyway, midway through production Zack Snyder was hit with a family tragedy with his daughter committing suicide, so Snyder naturally had to depart the project to be with his family during this grieving time. Warner Bros. had the option to pause production and await for Snyder’s return, or progress at their own accord. Naturally they decided to do their own thing cause they are a business and want that dollar dollar bill baby!! So they hired Joss Whedon who was riding fresh off the success of two Avengers movies and obviously had experience in cinematic universes and such, to rework the Justice League movie by condensing it into a 2 hour film (from the over 4 hour material that Snyder shot) and reshoot scenes to fit the smaller runtime. So you cannot particularly blame Whedon for taking out so many great scenes as he had a contract to fulfil with Warner Bros, but then you look at the many forced jokes and unnecessary reshot scenes and you realise how self-indulgent Joss Whedon was during filming, as he basically was spitting on everything Snyder did and was trying to do his own thing. Low and behold, the mess that is the 2017 movie is created, where its the visions and creative minds of two director with evidently different styles clashing and not really mixing well at all, and as such we have a messy movie that doesn’t really make sense and is a bit of a middle finger to DC fans and honestly everyone and all. Also, there was that little aspect of Henry Cavill’s deformed upper lip due to the fact that during reshoots he had a moustache that he’d grown and was contractually obligated to have for his Mission Impossible role, so the visual effects team had to digitally remove it in post production and the result is, well, see for yourself...

Yes, they made the dashing handsome my-sexuality-questioning Henry Cavill look stupid, and that is UNFORGIVABLE. Funny, yes, very funny but unforgivable!! So for this and many other reasons the 2017 film turned out horribly. Then after that many months later, Zack Snyder and cast and crew members began teasing of this mythical version of the movie that was befit of Snyder’s original vision. You see, apparently before he left the project, Snyder actually filmed everything he wanted and it was only awaiting to be reworked with visual effects and edited properly, but then Whedon came in with his scissors and cut everything mercilessly with a cheeky grin and his ginger beard. Speaking of his ginger beard, is Joss Whedon Irish? Or has Irish roots? Honestly, I would Google it, but wait, I don’t think I really care. So anyway, Snyder still had all of his filmed scenes saved on his ridiculously oversized hard drive just waiting to be looked at again. This is where the fandom did its magic by creating a Twitter hashtag #ReleaseTheSnyderCut and began spam posting for Warner Bros. to let Zack Snyder release what he originally intended to. Honestly, who would have thunk it, but this actually worked!! Warner Bros. allowed this, and not only that, but gave Snyder an additional $70 million to finish up the visual effects as well as to film a couple of additional sequences and gave it the prestigious honour to debut it on HBO Max, so as to boost the subscriber rating on Warner Bros. new streaming service. And here we are.

Honestly, I thought seeing this Director’s Cut of sorts wouldn’t bring much to the table as I didn’t believe that a film that was so broken had originally been in any way good. After finishing this 4 hour Snyder vision I must admit though that I was pleasantly surprised. Completely baffled by the studio and Joss Whedon, but really happy for Zack Snyder. The guy was fighting for it and finally was able to accomplish and bring out his true original vision, and though Zack Snyder’s Justice League has its flaws, its so much better than what we got in 2017, and in fact is a soaring science fiction sci-fi epic that literally feels epic!! It takes time establishing the characters and every single plot point as well as building out this rich mythology of this world of the DC Extended Universe, and so as you move into the second half of the film, there’s a feeling of pay off. You actually care about the characters and understand the plot points and it doesn’t feel rushed. Its truly astounding that there are producers out there who thought it was a good idea to get rid of all of that and instead bring out whatever the heck Joss Whedon did with the 2017 version. Look, I quite enjoy Joss Whedon’s work, from Buffy the Vampire Slayer and Angel to Cabin in the Woods and his work on Marvel, the guy obviously has a talent, but also he obviously does not belong to the dark and brooding style of DC. Zack Snyder on the other hand, though makes his mistakes, truly embraces the epic feel of the DC material. And it seems once you give Snyder enough time and space, he can actually bring out something like this:

The main characters are all given so much more to do, or at least those that got side-lined in the 2017 version are given more to do here. One of my complaints with the original was how pointless the League turns out to be. Basically in the theatrical version the main team all end up being useless and only once Superman shows up he saves everyone’s asses and literally does EVERYTHING. Might as well have called the film Man of Steel 2 (feat. Justice League). However in this new version, every main character serves a purpose. Well most of them do at least. Cyborg and Flash are much more compelling characters with more layers and backstory, and in fact are a prime reason to defeating the great evil in the end. You now understand why Cyborg actor Ray Fisher was pissed at Joss Whedon, as the guy literally got rid of his best stuff. Superman strikes a cool black suit and is still powerful, however as the finale shows, he isn’t all-powerful and does need the help of the rest of the team. Wonder Woman gets a lot more to do in this theatrical cut, and in fact this is probably Gal Gadot’s best performance as Wonder Woman and she really shows herself as a powerful female superhero! Aquaman’s role stays largely unchanged, however to be honest Jason Momoa’s character was one of the only ones who didn’t suffer in the theatrical cut. That’s unsurprising seeing as Jason Momoa is such a naturally cool dude! A big panda that is friendly in real life, but when necessary can turn into a roaring bear. To be honest, the only League member that ends up a bit pointless is actually Batman. He still serves a purpose in the film in that he’s the one who assembles the team, but otherwise the rest of the group is so overpowered compared to him that in the end you do kind of think that he doesn’t really belong there. Still, Ben Affleck is great in the role and it’s a shame we won’t see much of him past Flashpoint film that will be released in the next few years.

There are a lot of characters in this film and one can still say the movie is overstuffed, but also seeing as the movie was originally intended to spring board the DCEU properly, all these teases are actually welcome. There are an abundance of cameos, and to be honest so many characters are so well cast that you do end up wishing that Snyder was given the opportunity to make his entire Justice League planned trilogy, but nevertheless at least we have this. There are truly an abundance of cool appearances here, from the menacing villain Darkseid (played by Ray Porter) to Willem Dafoe doing what Dafoe does best, only in this case underwater and I’m certain that’s gonna span many comparison memes with The Lighthouse. Joe Morton as Cyborg’s dad is given a lot more to do here and in fact is pivotal towards building up Cyborg into the important character that he is. There’s also a cameo from Jared Leto’s Joker, who in some ways redeems himself after his appearance in Suicide Squad. Also, we need to talk about Steppenwolf, who’s the main baddie in this film. In the theatrical cut the guy was the most generic one-note villain who also looked like a PS2 character. It was honestly embarrassing the way he was animated. Luckily in this version he’s been put through enough Skyrim mods to looks much more intimidating and is also given a better motivation. As we find out, the reason he does what he does is because he wants to go home. He’s been banished and he simply wants to earn his place back home, so it’s actually kind of sweet. Steppenwolf is a sweetie. I mean, yeah, he wants to destroy half of the world to fulfil his dream, but hey, haven’t we all taken something extreme measures to get what we want?

The film is far from perfect though. At the end of the day, the movie is just about a guy hunting down a bunch of magical boxes. That was the premise of the theatrical cut and its the same here too. Yes, there is more substance and gravitas to the proceedings, but at the end of the day the story doesn’t really surprise much. And with the entire thing running at 4 hours, it is definitely too long and there is the element where there is simply too much in this thing. Also visually, though the movie has plenty of gorgeous shots and Zack Snyder’s signature slow motion sequences are on full display here, there are still many sequences where the CGI and green screen are super obvious and look really fake. That being said there’s still so much visual goodness in this, and also I have to mention Junkie XL’s new music score that does reiterate the epic feel of this movie, in comparison to Danny Elfman’s weak uninspiring notes in the theatrical cut.

Zack Snyder’s Justice League is a massive surprise and completely changes the perception of what we saw in the original 2017 theatrical cut. It’s a sprawling massive adventure that’s a dream come true for any comic book fan. It shows how vital film editing is, and how important it is to have a cohesive plan when making a movie. Gone too are the silly forced jokes, and though there is still some humour here, it feels more grounded and fit of the setting and scenario. This is Snyder’s vision through and through, and though at times it is clunky, it overall is incredible to behold, as it’s this one guy’s mind and his love for the DC lore. It’s a credible achievement, and I’m actually sentimentally happy for Snyder that he finally managed to complete this. He even during the credits dedicates this to his daughter Autumn that passed away, and I found that to be truly bittersweet. Justice has indeed been served.

Overall score: 7/10

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buffyversefanfiction · 4 years

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Twisted Tristan’s Tormented Christmas

Fandoms: Buffy the vampire slayer, Angel, Buffy Dark Horse comics, Buffyverse and A Christmas Carol.

Warnings: I do not own the rights to the television show Buffy the Vampire Slayer, its spin-off series Angel, its dark horse comics continuation series, or any of the characters created by Joss Whedon and others in the Buffyverse.

15 years +, Mild to Strong Violence, Sexual References. F/F, F/M, M/M, Other +

“Have yourself a merry little…” The voice on the television began to sing with a campy Christmas cheer before the song was abruptly ended by Tristan switching off the television in the living room of the apartment, he shared with Faith above their bar Rogue’s. “Christmas is cancelled this year; we are drinking straight through to New Year’s.” A drunken Tristan declared, while wearing just a pair of tight white boxer briefs as he held a half empty bottle of whisky in his hands, before crashing on to the nearby couch. This year had been especially difficult for Tristan Summers, who had went from being a vampire who was possessed by a demon, to being killed, only to come back to life and find himself sucked into a twisted dimension where he and his parents Buffy and Angel worked together to kill the shadow demon that had once possessed him. Being back from the dead should have been reason enough for Tristan to celebrate Christmas, however, despite many pleas from both of his infamous parents he continued to decline, even going as far as convincing Faith to head to Los Angels for Christmas so he would not have anybody to remind him come the day. The earliest Christmases that Tristan could remember with his adoptive parents seemed like a perfect Christmas looking back which were probably heavily influenced by nostalgia and how much he missed them. Heck, even his Christmases spent with vampires Dante and Drusilla were fun for him, of course they were all crazy and there’d usually be humans on the table instead of turkey but it still felt like a family holiday, a deeply disturbed family, but family nonetheless and after so many losses, heartbreaks, and betrayals, Tristan was done with it all, especially Christmas. After everything him, Buffy, and Angel had gone through to get to a place where their relationship was somewhat healthy, or at least healthier than Tristan trying to kill his biological parents, he did feel guilty for rejecting both of their invitations but he just did not feel ready to open himself up to another form of family, especially not on Christmas Day.

As the hours passed, Tristan waited until his bottle of whisky was completely empty before passing out drunk on the couch where he sat but sleep was not something he would get much of on the night of December 22nd as he suddenly found himself being awakened by his old high school friend Mandi Jenkins, startling him to his core, considering Mandi was killed by Drusilla not too long ago. “Mandi,” Tristan mumbled as he rubbed his eyes, unable to believe what stood before him. “How is this possible? Your dead…I saw your body myself after Dru killed you.” “I believe the correct answer would be it’s the magic of Christmas, believe it or not that kind of thing really does exist but to be fair in a world filled with vampires, witches, slayers and sons of slayers is it really that far of a stretch that Christmas really is that special after all.” Mandi replied to her old friend. “Clearly, I am dreaming once again.” Tristan realized, as he stood up from his couch. “There’s only so many twisted dream scenarios one unhinged slayer can handle before he becomes completely and utterly tormented like…” “Drusilla…you were going to say Drusilla, right?” Mandi interrupted the slayer’s son, instantly noticing his guilt over mention the name of her killer to her so casually. “It’s okay Drusilla killed me, biggest surprise was it was not you who killed me…and I use the term loosely considering I am not actually Mandi.” “Are you the first? Please tell me you’re the first and not the shadow demon because I am getting sick of going up against the shadow demon.” Tristan complained. “I am the ghost of Christmas past.” Mandi revealed to him, only to be met by laughs of disbelief from Tristan. “Are we really doing this?” Tristan asked in between laughs.

Exactly one blink later and before his very eyes he was now standing next to Mandi on the snow covered grass of his family home in Riverborn looking into the dining room window to see his adoptive parents playing games, talking and laughing with each other and a six year old version of himself. “They loved Christmas so much, my dad used to dress up as Santa, I guess like most dads did but he really committed to the role either that or I was a really dumb kid because I was shocked when I found it was him.” Tristan admitted to Mandi, with tears in his eyes as he watched a beautiful Christmas memory before his very eyes. “Do you remember how our parents used to meet up on Christmas night and it would be like this big mash up of Christmas? And how you used to spend New Year’s with me every year?” “I know I look like Mandi, but I am not actually her remember,” The ghost of Christmas past reminded him. “I can see why Christmas is so difficult when it serves as a reminder of all you’ve lost but not all of which you have lost is bad…” “What does that mean?” Tristan wondered, before realizing. “Dante and Drusilla…I loved them like family too and the whole time they were the ones who killed my real family, first my parents, then you, well Mandi…” “I know how much Mandi Jenkins meant to you which is why I chose to take this form and I know the guilt you feel for not only her death but your parents’ too but all of that was out of your control.” Mandi of Christmas past explained to the son of the slayer. “Maybe not…but killing Mandi’s boyfriend was definitely all me, killing all those slayers, and all those innocents, that is all on me without any excuses and that is something I can never make up for.” Tristan admitted, never forgetting the horrors he had committed with his own hands. “I could feed you the line and play the role of a person endorsing your shit by saying you were manipulated by two vampires, one whom you were in love with, but the truth is you chose that path and you killed all of those innocents and that is something you should have to live with for the rest of your life without a doubt!” Mandi made clear to Tristan. “However, that does not mean you should resign yourself to the shadows, if you truly want to redeem yourself and be the better person then you need to learn the true differences between the past you, your present and what your future may look like.”

It was December 23rd the eve before Christmas eve and Tristan had all but regulated his experiences the night before as nothing more than a drunken dream as he pulled himself together, showered, washed, and put on some clothes before opening up his and Faith’s bar Rogues which they opened during the day despite the fact most of their customers couldn’t step out in the day, however, one particularly loyal customer only showed up during the day, Miss Anya Christina Emmanuella Jenkins, a former vengeance demon from an alternate world who had found herself annoyingly human and in New York City. “So, you spend a thousand years give or take with the best gig a girl can ask for…minus all the bloody bunnies and then boom some shadow demon gives you an offer you cannot refuse although in hindsight I probably should have…” A drunk Anya Jenkins slurred while drinking her bottle of beer, sat on a stool, at the bar counter, within Rogues bar, which was empty barring her and her bartender Tristan Summers, who stood behind the counter, looking far from amused by his company. “Only to be beat by two humans and the worst part of it all is not only does the world suck a lot more than I hoped for but this world’s version of my boss tells me I have no choice but to stay human because this world’s me was given too many chances…” “You have told me this story every time you come in here in the afternoon, always drunk before the sunsets, forcing me to get you a taxi so you do not wind up some vamp’s dinner…” Tristan complained to her. “You need to get over it already and find yourself some kind of life you do not totally hate living.” “Oh, I am very sorry if my life’s problems bore you!” Anya said with great sarcasm. “It was you lot who did this to me…it’s only fair you have to wallow in my misery with me.” “Hey, do not get uppity with me because you were bested by a broken key and a halfwit.” Tristan mocked the former vengeance demon, and by doing so also mocked Dawn and her boyfriend Xander. “You are almost as bad as Sid for the complaining, but the guy is a freaking puppet who cannot drink…real problems, unlike yours!” “Remind me again why I keep choosing to come back here to a bar which service is severely lacking?” Anya asked, while digging at Tristan at the same time. “Because this is the only place stupid enough to let you have a tab!” Tristan replied. “Which was definitely more Faith’s idea than mine considering I know for a fact you are never going to find a way of paying us back nor do you want to look.” “You make an excellent point,” Anya responded before finishing her beer and placing the empty bottle onto the bar counter. “Where is your fellow slayer anyway?” “Spending Christmas in Los Angeles with everyone including the two humans who brought you down to your knees.” Tristan informed her, all too happily. “If I knew you were this much fun during the holidays I would have told her to take you with them although considering you’re an alternate world version of the girl Xander almost married I do not think Dawn would be too happy…saying that I am not too sure if I care about her not being happy.” “So, you turned down being somewhere for Christmas so you could serve me alcohol all through the holiday and yet I’m the one who needs to get a life?” Anya said blatantly, as she stood up from the barstool and began walking towards the bar door, ready to leave Tristan alone to think about her latest insult.

Later that very same night after he was finished closing up Rogues, the only male slayer Tristan went straight to bed, avoiding any drinks in an attempt to avoid further dreams about Christmas past, but alas the ghost of Christmas past and had come and gone and it was now time for the ghost of Christmas present and who better to represent it than Drusilla, a vampire that Tristan had a lot of history with, history which continued to troubled him right up to this very day, and possibly in the future too. “My boy still looks like an angel when he sleeps but the things, he’s done makes his daddy angel weep and weep.” Drusilla tormented Tristan, as the male slayer awoke from his sleep to find her stood above his bed within his bedroom. “Considering you were not invited into this home this has got to be another dream,” Tristan reassured himself, as he climbed out of bed and stood up on the floor, ready to face the vampire who made him into the monster he once was. “So, are we still on the theme of Christmas or is this just another dream with you in it?” “Yes, I do seem to haunt your dreams on the regular…tell me what is worse for you? The dreams in which I am killing everybody you loved which serve more like flashbacks than dreams, or is it the dreams in which you’re happy, we’re happy, Dante, and Mandi too?” Drusilla, the ghost of Christmas present, questioned the man who once loved her like a mother, knowing the turmoil her mere presence caused him. “I cannot believe I am saying this,” Tristan admitted to both himself and the ghost of Christmas present, eager to avoid anymore talk of his troubling past. “Please tell me this is another Christmas dream…” “Yes,” Drusilla said after a sinister cackle, the Christmas ghost playing their part of the deranged vampire a little to well, before the two found themselves standing outside the front doors of the Hyperion Hotel, within the garden, looking through the front doors to see Tristan’s father Angel reluctantly decorating a large tree within the reception area of the hotel, under close super vision by the all-powerful witch Willow. “Hate to break it to you Dru but if this is what you have to show me then your seriously lacking in the sinister department these days…or this Christmas ghost version of you is way too much Christmas and not enough Halloween.” Tristan scorned Drusilla, as he continued to watch his father Angel decorate a tree with Willow, looking further to find Faith and Spike knocking back drinks at the counter of the reception area, while behind the reception area Giles, his mother’s watcher, was heavy into what looked like a game of scrabble with Dawn and Xander, the watcher looking justifiably frustrated by what Tristan assumed was the others lack of verbal intellect in comparison to Giles. As Tristan continued to search through the festive scenery before his very eyes, taking Drusilla’s silence as a hint to continue examining what lay before him, after a few more moments he found his mother Buffy Summers sat on the stairs playing dolls with her six year old niece, and his cousin, Joyce Harris, and for some reason that he did not want to admit to himself he began to feel a gut in his stomach, jealous not of Joyce or her child play, but broken by the sign of Buffy being motherly to a child, a child that was not him, a child that would never be him. “You are right in thinking she will never be like that with you, for you a neither a child, or remotely innocent…the days of that ever being likely for you are well and truly over.” Drusilla told him. “You are never too old to be somebody’s son but are you too far gone to allow anyone to love you like that?” “And what the hell is that supposed to mean?” Tristan questioned the vampire, confused by her often-cryptic ways of putting a sentence together. But before the son of the slayer could get any answers from the ghost of Christmas present he found himself waking back up in his bed in his bedroom, only this time there was no sign of Drusilla to be found.

It was now December 24th, officially the eve before Christmas, and it felt to Tristan like this particular Christmas was on steroids, as Christmases tended to feel like during times people were far from feeling the festive spirit, and it seemed to Mr. Summers that he could not turn on a television, stream a song, or listen to the radio, without the message of Christmas being shoved down his throat, but as he opened up his bar for another day to night shift, he began to look forward to the distraction of Anya Jenkins, knowing she would be the last person to feel the festive cheer, or at least that is what he thought. As Anya strolled into Rogue’s dressed as a literal elf, holding a hot, sexy, and barely dressed, male Santa in her arms looking happier than she had ever looked before, Tristan could not believe his eyes, believing instantly some sinister magic was to blame for this ungodly sight before him. “I thought you hated elves why the hell are you dressed up like one?” Tristan asked Anya, as she sat down at the bar with her festive suitor. “It’s bunnies, it’s always been bunnies, bloody bunnies!” Anya corrected the male slayer, unnerved by mentioning the creatures she feared the most. “So, you hate Easter but not Christmas then?” Tristan wondered, before turning to examine the sexy Santa, failing to not notice his amazingly chiseled and seemingly oiled hairless chest. “Or do you just have a kink for Santa’s…which judging by this one makes a whole lot of sense.” “I like money, and lots of it, and I got myself as an elf at some shopping mall…can you believe shopping malls are still a thing on this world? In my world we enslaved all designers forcing them to make their designs exclusive to us which definitely wound up backfiring when they started stitching terribly and we got all angry and killed them all.” Anya revealed to Tristan, with a sense of fondness. “Now those were the days…” “Did you just say this world…as in you’re from another planet or something? Because that is super cool, everyone meets vampires and demons these days, but I never hear stories about aliens.” A clearly confused sexy Santa asked Anya, all too excited by the potential of her being an alien. “I knew by Xander that dumb was your type but at least this one’s hot.” Tristan told Anya, mocking both Xander and the sexy Santa without care. “Well aliens are from another planet and I am from another universe so yes, I’m technically an alien to this world anyways.” Anya replied to Tristan, before going on to say. “Also, I am not the Anya who almost married that lump I am the Anya that has only had the misfortune to meet him once.” “So, Santa what do you want to drink?” Tristan asked the man, eager to change from the topic of aliens. “Oh, I do not drink, I respect what goes into my body.” The sexy Santa, instantly losing all appeal to both Anya and Tristan within that one instant. “I’m cool with the whole not drinking thing but respecting your body? Is that really a thing when there is literally a fast-food joint on every corner? I mean I am all for self-love and stuff but keep your greens and I will keep my fats.” Tristan responded to the man dressed as Santa. “Tristan your bitterness over no Christmas date is starting to show, maybe you should hitch a ride to L.A. before it’s too late and spend Christmas with that god-awful family of yours.” Anya suggested to the male slayer. “I’d gladly tend to the bar for you…if I’m payed Christmas wages of course.” “No thank you,” Tristan scoffed, not willing to trust Anya, nor willing to go anywhere, especially not on Christmas. “I mean I know this place is just a dive bar and everything, but I would not trust you to take care of my stakes never mind my bar, and everything’s a stake if it’s wooden and you get creative…”

After spending his day shift watching Anya making out with the sexy Santa she brought to Rogues, and the night shift serving demon after demon, creature after creature, and the odd human who were very odd indeed, Tristan shut down the bar for another night before putting himself to bed once again, falling into a deep sleep, hoping the future was further away than what it would be…as before long he found himself awakening on the cold hard ground of his own grave. “Well this is definitely a little too much melancholy for even me…” He mumbled to himself as he stood up from the ground and walked off his grave, looking around the San Francisco cemetery, confused by how he got there. “Down here big guy!” Sid instructed the slayer, forcing Tristan to look below to find the living puppet stood in front of him. “In case you’ve not quite caught up on all of this, yet I am your ghost of Christmas future.” “I figured that much but why take to me to where Buffy buried me before the whole coming back to life via some powers that be meddling?” Tristan replied to the puppet man, made of wood. “Well where else were they going to stick your lifeless body the next time around?” Sid answered him. “They never got round to getting rid of the grave, not that they needed too considering you wound up back in it before long.” “What did I die of a severe lack of Christmas cheer?” Tristan joked, unaffected so far by this spiritual visit. “Or maybe a vampire staked me with a candy cane, the amount I’ve staked seems kind of poetic actually…” “Nope, after you went back to the bad way of life much to no-one’s surprise your mum Buffy stepped up and killed you…if memory serves right you were stabbed to death with way too many wounds for it not to be a little…you know…fun for her.” Sid revealed to the slayer. “But after all the work they put in saving you just for you to go back to being a bastard who would blame her…” “So, I go back evil? I wouldn’t do that…not after everything…” Tristan dismissed his claims, all while fearing Sid was telling the truth. “Yep, that’s what you thought too but after continuously pushing away the parents, then Faith, and even Anya got sick of you…well after all that you had nobody and before long you were back budding it up with Drusilla acting as if you did not know she and Dante killed your parents…or maybe you just really did not care anymore.” Sid continued to explain to a stunned Tristan. “I mean how are you supposed to be human when you haven’t bonded with any since you started playing with monsters.” “That’s not true!” Tristan snapped at the ghost of Christmas future. “I care about Faith she has never given up on me, and I care about Buffy and Angel, I mean sure the parents thing is a little complicated but I do care about them…and I cared about Mandi, Lucas, and the parents that raised me.” “If you really care about all these people, the ones who aren’t dead yet then why are you treating them like they are already gone?” Sid asked Tristan, already knowing the slayer’s answer. “Because you fear one day you might end up caring too much and losing them which will happen as nobody lives forever, thing is…if you don’t care, lose, get hurt, and let your heart break, then you’re not really human as much as it sucks, we got to feel the bad as well as the good because nothing is more dangerous than becoming numb to it all.” Tristan wanted to argue back with the man trapped within the dummy, wanting to prove him wrong, but Sid’s words were wiser than Tristan would like to admit, and even if he was not a fan of Christmas itself he was certainly a fan of those who did care about it, those who wanted to spend it with him and before long he started to realize that he had made a huge mistake by trying to skip Christmas….

As Tristan woke up in his bed within his room on Christmas Day, he was immediately met with guilt as he realized he had missed out on a chance to bond with his friends, his family, and potential loved ones. He was not suddenly a fan of Christmas itself, that would take some time, but he began to remember its message and how important it was for people, how important it once was for him, and as he climbed out of his bed, rising onto his feet, and walked over to his window to see the back alleyway, in between his building and several others, was covered in snow, as snow continued to fall from the sky, and for a moment, just a moment, he even considered opening that window and yelling Merry Christmas. Instead, he chose to get changed and then call up those who would answer to him, so he could wish them a Merry Christmas and admit to his regrets of not being with them on this special occasion but after he had got changed, and walked into the living room of his apartment, he quickly realized he had no calls to make as his living room was decked to the halls with Christmas decorations, including a fully decorated tree, as his mother Buffy Summers, his father Angel, his aunt Dawn, her man Xander, and their daughter Joyce, stood beside his friend Faith, the vampire Spike, his mother’s best friend Willow and the retired watcher Giles…all of them ready to spend Christmas with him whether he wanted to or not…but luckily for him he was more than ready to celebrate Christmas with them all.

Have a truly twisted Christmas that only torments you in the more joyous ways and a happy new year, a year which will hopefully be less chaotic than 2020, keep slaying slayerettes.

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dvp95 · 4 years

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meet me in the afterglow

pairing: dan howell/phil lester rating: explicit tags: getting back together, smut, hurt/comfort, light angst, happy ending, introspection word count: 1.5k summary: It had been Phil's decision, after all. Okay, technically, it had been a mutual decision, but it had been Phil who actually said the words. They're supposed to be past it by now.

written as a commission fill for ros ♥

read on ao3 or here!

They're sitting on opposite ends of the couch, idly scrolling on their own devices while Buffy acts as a comforting third party on the TV. Ever since he'd first gotten Dan to watch the show, Phil tends to just keep restarting it every time they hit Chosen again. Nothing else is quite as effective in breaking the quiet that could easily get into awkward territory as the familiar snappy dialogue and fight scenes.

Phil hasn't been paying enough attention to the episode they're on. He glances up and sees Tara in the doorway, hears her say, "Things fall apart. They fall apart so hard."

He stands up and mumbles something about going to the bathroom. Dan barely looks away from his laptop, but he asks if Phil wants him to pause the show. Even though they've both seen it so many times, Dan always offers. He's considerate that way.

"No, don't bother," says Phil. "I know how it ends."

Tara is asking if they can skip the hard part of making up and just be kissing again when Phil leaves the lounge. He wonders if Dan is invested enough in the plot to hear the speech, cognizant enough to make the connection to Phil abruptly leaving, or if he's too focused on whatever Reddit thread he's come across to give Tara and Willow any spare thought. Maybe the scene doesn't hit as close to home for Dan as it does for Phil.

It had been Phil's decision, after all. Okay, technically, it had been a mutual decision, but it had been Phil who actually said the words.

They're supposed to be past it by now.

Maybe things would have been easier if they weren't still best friends. They hadn't wanted to get their own places, didn't want to make a bigger deal of the breakup than absolutely necessary. That was a few years ago now - Phil acts like he can't remember the exact date, but he thinks Dan can probably see past his fake cheerfulness every time the anniversary passes - but sometimes it still hits Phil like a fresh wave of bitterness and remorse.

It's not like he's had a lot of experience with this sort of thing. He hadn't had anything that looked like a relationship before Dan tumbled into his life, and there were a lot of things that he thinks he could do better now, if he was given the chance.

They're different people now. Phil has a better handle on his anxiety and a better perspective on what he can do to keep his private life private; Dan has settled confidently into his own skin and gotten through so much of his baggage with his therapist that he's tried to use some of the techniques on Phil whenever he won't talk about his feelings.

"If I wanted to be in therapy," Phil had recently snapped, strung taut by plans of a second world tour coming together to create a terrifying, overambitious picture, "then I'd be in therapy, Dan."

Dan had only shrugged. He rarely seemed to feel any guilt for attempting 'healthy communication', as he always called it. "Just trying to help."

Sometimes Phil hates him for that, but it never lasts. Phil might be able to hold a grudge with the best of them, but that had never applied to Dan. They're too entwined in each other at this point, too purposefully connected in every facet of their lives, for Phil to allow the irritation to make any sort of home in his chest. It's always been easier to let the arguments happen and then let them go.

Phil waits until he can hear Dawn Summers shrieking with happiness over the witches getting back together before he goes back to the lounge. He wonders if anyone would be that happy if he and Dan were to - but that way lies madness. He can't think about that. It's too easy to cling to faint hope that never really went away.

Phil can't be sure if it was Buffy that did it or not, but he's inclined to believe that it is. It's too much of a coincidence that Dan would knock lightly on his bedroom door a couple days later and give him a tired sort of grin.

"Hey," he says, and Phil wonders if he forgot to unload the dishwasher last night or something.

"Hi," says Phil. He slides his finger between the pages of his book and closes the cover gently, keeping his place while he gives Dan his attention. "Everything okay?"

Dan shrugs, hands shoved deep in his sweatpant pockets. He looks like he's been awake for too long, like he forgot to sleep again, and Phil's surge of protectiveness feels instinctual. He hates when Dan doesn't sleep, whether it's on purpose or not. It feels like he should be up with him, at least, keeping him company while thoughts ricochet around Dan's brain like a pinball machine.

"Things are," Dan hesitates for a fraction of a second, "fine."

It's pretty obvious to Phil that things aren't fine. He puts the receipt he's been using as a bookmark into his book and sets it aside. "C'mere."

Dan's whole body seems to slump forward in relief, and Phil feels like he's made the right decision. He sits up against his headboard properly and fluffs up the pillow he never uses. It’s the only thing on the side of the bed where a lanky boy took up too much space for so many years. Dan fills it again, sitting next to Phil and curling in on himself a bit. He leans into Phil, his curly head finding somewhere comfortable to rest on Phil's shoulder.

Wrapping his arm around Dan would jostle him, so Phil settles for putting his hand on Dan's knee and squeezing. He doesn't know if this is just one of Dan's hard days, which seem to be getting more and more frequent as the tour looms, or if it's something else entirely.

The room is quiet for a little while. It doesn't get anywhere near the realm of awkward, even with the cuddling. Phil's hope - dormant, insistent - flares again.

"I've been thinking," says Dan.

"Dangerous activity," Phil can't help himself from joking. He wonders if Dan is rolling his eyes or smiling. Or both, he supposes. A lot of the time, it's both. "What have you been thinking about?"

"I've been thinking that I don't want to do this without you," Dan says, a bit rushed. Phil is opening his mouth to ask for clarification when Dan's patented rambling barrels through. "The tour, yeah, but also the - the telling my family about me, which I want to do, but I don't want to do it alone. I don't want to do any of this alone."

Phil risks the grumbling to wrap both arms around Dan, pulling Dan against his chest in a proper cuddle. "You aren't alone. I'm not going anywhere."

"I know," Dan says. He looks up at Phil, brown eyes wide and full of meaning and close, and Phil momentarily forgets how to breathe. "I know you're gonna be there for whatever I need you to be there for. I just. I want to do it with you, not just... beside you."

There's a chance, however small, that Phil is misreading the situation. He thinks about that and about the choices he'd made that led to this and about Tara's speech, and he decides that he can't keep pushing his hope down like it's an excitable puppy. He lets it consume him, instead, lets the warmth spread through his whole body before he rests his forehead against Dan's in supplication.

Dan doesn't seem to be asking for penance. Dan is asking for something much simpler.

There are a lot of things that Phil loves in this world. Pancakes, Buffy, the way a dog's tail wags when he says hello to them, so many things he could list for days and not even be close to hitting the end. Even so, there's nothing quite like the needy noises that echo around the room when Phil takes Dan's cock deep into his throat, twists his fingers inside Dan, keeps eye contact with Dan to watch the way he falls apart. He watches Dan arch up, sweat beading on his forehead, and feels Dan's hand pushing and pulling in his hair. Dan falling apart - that's what Phil loves most in this world. He can't believe he went so long without it, no matter what his reasons were at the time.

"Like riding a bike," Dan laughs and collapses against Phil's chest. His mouth follows a path from Phil's collarbones to his jaw, ending at his well-abused lips.

Phil grins into the kiss. He wants Dan closer, impossibly. He's got his arms around Dan, Dan's legs bracketing his hips, he's still inside of Dan, but it doesn't feel like enough. They trade lazy, sweaty kisses until Dan eventually starts complaining about needing a shower.

He isn't ready to let go of Dan again, even for a handful of minutes, but that's not a problem - although it hasn't been taken advantage of yet, the shower in this flat is definitely big enough for the two of them.

#words words words #commission fills

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takaraphoenix · 4 years

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Buffy the Vampire Slayer: Season 6

1. Favorite character of this season?

I absolutely love how they dedicated this season to Buffy's issues. She died. And was ripped out of heaven. She lost her mom and was suddenly forced into being the adult in the house. It's so much and she gets to break about it. Yes, she hurts the people around her, but honestly... it kind of figures? How is one supposed to adjust to what she is trying to adjust to? But over the season, the wake-up calls she gets – the asylum episode, Dawn's stealing, Willow's addiction and then the grand finale that makes her realize she wants to be in this world – it's so great, because it goes... slowly.

My biggest issue with most modern TV is that it's basically torture porn. The main character is put through impossibly traumatizing ordeals but is never even given the chance to cope, to try and deal with it. The issues are never addressed, only glossed over because actually dealing with them would require care and good writing and take time away from all the other drama going on! So characters are only traumatized for shock-value and then are immediately over it, even though it's unrealistic.

This season is a season of trauma. A season of bad coping mechanism, of pushing people away but still seeking someone where she can feel safe – Spike. She slowly has to relearn to open up and let them in, she has to learn to want to live again. And it's hard. And the show doesn't shy away from it, it doesn't shy away from her making the wrong choices, because... there is no one right choice that is obvious when dealing with the trauma she has faced.

2. Outstanding minor character (positive or negative)?

Negative. Jonathan. I just... I really truly hate that Jonathan is in the trio. Of all people, Jonathan. The one who gave Buffy her class-protector award with that heart-warming speech. Buffy was the one person who saved him, personally, when he wanted to commit suicide. Even after the Jonathan Superstar episode, Buffy was gentle and understanding with him. It just... for him, to turn supervillain like that was incredibly disappointing for me.

3. Favorite character dynamic?

I genuinely love the Tara-Dawn dynamic. Tara and Willow raised her for months while Buffy was dead. But the Giles-Anya dynamic is also so great – I'm very soft for the way Anya points out her hair is blonde in the finale like “Buffy is getting hugs for short hair. I too would like a hug”.

4. Favorite canon romantic ship?

Buffy and Spike... in the first half of the season. The way she found him to open up to, he was the only one she voluntarily told about having been in heaven. She finds a connection to him. The way he loves her – that he stayed, for months, even though she was dead, because he had promised her to take care of Dawn and he didn't just do that, he helped the Scoobies protect Sunnydale. He had no reason to and it still... it bothers me so much that everyone continuously belittles Spike's love for Buffy like it's not there. If he was only lusting after her, he would have ditched town after her death, he wouldn't have helped defend Sunnydale and take care of Dawn.

5. Least favorite canon romantic ship?

I'm having flashbacks here but it's a tie and it's because of shit decisions Xander and Willow made.

It's strange, I want to love Willow and – as a friend – she is a great character, but she's just... a shitty partner? She cheated on Oz for weeks or months with Xander and now she used magic to play with Tara's mind. That is so... violating and disturbing and that, after Tara found out and confronted her about it and pointed out how incredibly wrong that was, even more so with Tara's past, Willow just went and immediately did it again. And this isn't something you can blame the addiction for; this was just “I don't want my girlfriend mad at me so I'll erase her memories”. It's... just so bad.

The other being Xander and Anya, even though I love Xander and Anya together, but... the entire season was a steady build-up to “Xander REALLY doesn't wanna get married”, literally from the first episode on. He tried to hide the engagement as long as possible. Then he just... makes these disturbed faces every time someone brings up the married life. They had a whole sing and dance number about their doubts. It's just so very evidently clear that he doesn't want to get married, but he takes until the wedding itself to realize and just... leaves Anya at the altar and then thinks he can get her back? Genuinely thinks they could just go back to being in a relationship? But after leaving her at the altar acting like she owes him something – when he watches her and Spike have sex?

Sometimes, it feels like Xander and Willow really live to sabotage their own happiness.

6. Favorite episode?

Once More With Feeling – it's just one of the most outstanding episodes, really! The songs are so brilliant, the emotional arcs this episode for everyone – from the Spuffy to the per-marital issues between Anya and Xander to Tara and Giles' doubts. It's really brilliant. Many shows after have tried to make a musical episode happen and, with luck, they're fun or comic-relief, but... none have lived up to the standard set by this one.

7. Least favorite episode?

Oh, that's an easy one. 6x19 Seeing Red, where they made... Spike, at this point honestly, completely OoC by having him try to rape Buffy. That will never come off as anything but OoC, not after all that has happened between them. Yes, they are violent with each other – but that's a mutual thing, they hurt each other. This was... terrifying to watch as a teen and it hasn't stopped being upsetting and disturbing. And then they top the episode off with Tara being fridged.

I know fridging is technically the act of killing a female character for the sake of a male character's suffering, but... it's gay fridging? It's not even entirely a Bury Your Gay; Tara dies specifically for the pain and suffering of her lover. After everything Tara's been through in life and after everything Willow has put her through this season, they barely just rekindled... and she gets killed off.

8. Favorite Monster Of The Week?

Aesthetically and what he brought to the show? Sweet from Once More, With Feeling.

But I think that Stewart from Hell's Bells also really stood out. The fact that Anya's past came back to haunt her – because she was a demon for a century and she tortured people for a living. She doesn't even remember this guy whose life she ruined and he comes in to ruin her wedding. And in the end... he wasn't even the one to ruin it, the viewer gets one last moment of hope when it's revealed this was a fake-out, that he was not “Xander from the future” but a vengeful demon... but even without Stewart, the wedding didn't happen.

9. Least favorite Monster Of The Week?

Not too many monsters of the week going on, really. Probably Wig Lady from 6x12 Doublemeat Palace, because all the implications of cannibalism in that episode were really very disturbing.

10. Rate the overarching villain!

Brilliant. 10/10. Holds up so well.

Seriously, there is this... frustrating part where Xander's character just does not hold up at all because of the casual sexism and gross over-sexualization of his female friends. Which figures, because that's how a Nice Nerdy Guy was defined in the 90s (and, if you look at modern TV aimed at nerdy guys like The Big Bang Theory, still is). It's just a trope from TV and movies that for some reason really worked back then but nowadays when we look at sexism and the behavior of men toward women with different eyes, it is really appalling and upsetting.

In the case of the nerd trio, this worked out really well for the show, because it only makes them even more effective villains. They are ridiculous losers, total nerds who think they are owed womens' attention. Their schemes are literally straight out of comics but for the dumbest purposes – they make an invisibility ray so they can go into a women's only spa to spy on naked ladies. They create mind-control devices but for the purpose of enslaving women into their sex-puppets.

It is so gross, so ridiculous and inexplicably still somehow funny, because it's straight out of comics. Freeze-rays? Invisibility-rays? Self-destructing lairs? Jet-packs? It is not out of this world, this isn't how Buffy the Vampire Slayer operates, this is a show about monsters and demons and they're turning it into a whacky scifi show and it works.

Then there's the fact that they're just... three dumb losers? I mean, last season, Buffy literally slayed a god. Shows like to escalate. The Big Bads become bigger and badder each season, but... where do you go after you killed a god? Instead of trying to immediately one-up the villain factor, they did something incredibly brilliant. They took all the steps back.

The villains aren't the focus of this season. The focus of this season is what I answered in the first part of this post. Buffy's mental health and readjustment. You can't only focus on that though, you do need a villain and for that, an overarching villain of some loser nerd bois who fail the majority of time are perfect. They're nuisances that make Buffy's life marginally harder at times, but they're not an overall, serious, actual threat that may end the world.

And still they... got Tara killed. In such a... human manner. An angry man-child who hates women comes in with a gun and shoots her. And there's nothing the demon-slaying good guys can do about it. The bullet hits – not the target it was intended for – and takes an innocent life. Just like that, Warren manages what the hellish bad guys from previous seasons hadn't managed; he kills a Scoobie. Angelus killed Jenny, Drusilla killed Kendra, those were the only major deaths at the hands of villains that we had on this show so far and both were minor characters.

Bonus: Other thoughts?

Dawn was so draining this season; she got better in the last quarter of the season but the majority of it... The stealing, the behavior, the blaming Buffy for absolutely everything – Willow got addicted to magic, it's Buffy's fault, they have no money and Buffy has to go and work to earn money and it's Buffy's fault that she's not home, Buffy died to save Dawn and somehow it's Buffy's fault too because she left Dawn. Just... how can you possibly be this self-centered...? It's so exhausting, even more so in the season that has Buffy suffering the most and instead of being a supportive, helpful sister, Dawn acts like she's the victim of everything...

And I understand, Dawn has been through a lot too – losing her mother, losing Buffy, learning she isn't human but just a mass of energy – but there is a difference between suffering yourself and placing all the blame on other people and pretending that the world is against you, instead of tackling your own issues and problems yourself? And stealing from your friends, at that.

And no, being fifteen isn't an excuse for not seeing beyond yourself. Fifteen year olds are sure old enough to be self-aware... This “fifteen year olds only see themselves and only care about their own suffering and everybody else is to be blamed for how shit their life is” is just... another cringey Teen Girl Trope. Seriously, why did they just cram every single bad trope into this character...

#Buffy the Vampire Slayer #Buffy Review #Phoe Watching Buffy #Season 6

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