Lewis Call Sounds Like Kinky Business To Me Subtextual and Textual Representations of Erotic Power in The Buffyverse 1

Slayage 24: Call http://slayageonline.com/essays/slayage24/Call.
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Lewis Call
"Sounds Like Kinky Business to Me":
S u btextu al an d Textu al Represen tation s of Erotic
P ow er in th e Bu ffyverse
[ 1] B uf f y t he V am pi re S l ay e r and A nge l hav e done a gre at de al t o prom ot e

t ol e rance of al t e rnat i v e se x ual i t i e s. The t wo program s are e spe ci al l y we l l k nown
f or t he i r posi t i v e de pi ct i ons of gay and l e sbi an se x ual i t y . H owe v e r, B uf f y and
A nge l hav e al so brought about anot he r i nt ri gui ng re v ol ut i on i n t he re pre se nt at i on
of unort hodox se x ual pract i ce s. Throughout t he t we l v e se asons whi ch com pri se t he
B uf f y v e rse narrat i v e , B uf f y and A nge l hav e consi st e nt l y prov i de d posi t i v e
port ray al s of sadom asochi sm ( S / M) and e rot i c powe r e x change . In t he e arl y
se asons t he se re pre se nt at i ons we re , of ne ce ssi t y , l arge l y subt e x t ual . A s t he t wo
shows progre sse d, howe v e r, t he y be gan t o prov i de bol de r, m ore e x pl i ci t de pi ct i ons
of S / M. Thus t he B uf f y v e rse ' s di scourse of e rot i c powe r gradual l y m ov e d out of
t he subt e x t ual and i nt o t he re al m of t he t e x t ual . A s re pre se nt at i ons of e rot i c
powe r e x change be cam e m ore ope n and e x pl i ci t at t he t e x t ual l e v e l , t he se
re pre se nt at i ons be cam e i ncre asi ngl y av ai l abl e t o t he B uf f y v e rse ' s audi e nce . In t he
l at e r se asons of B uf f y and A nge l , t he t wo program s di d not m e re l y de pi ct S / M, but
act ual l y pre se nt e d i t as an e t hi cal , e gal i t ari an way i n whi ch part i ci pant s m i ght
ne got i at e t he powe r re l at i ons whi ch are an i ne v i t abl e part of t he i r l i v e s. B uf f y and
A nge l brought S / M out of t he cl ose t and norm al i ze d i t . The t wo program s t hus
of f e re d t he i r audi e nce s a posi t i v e and pract i cal m ode l of e rot i c powe r e x change .
The B uf f y v e rse has al re ady se cure d f or i t se l f a prom i ne nt pl ace i n t he hi st ory of
narrat i v e t e l e v i si on. B y e ndorsi ng t he e t hi cal e x change of e rot i c powe r, B uf f y and
A nge l m ay e arn an i m port ant pl ace i n t he hi st ory of se x ual i t y as we l l .
[ 2] F e w t e l e v i si on shows are as f asci nat e d wi t h t he i r own subt e x t s as B uf f y
and A nge l . B ot h shows f e at ure a f re que nt l y f l agrant di sre gard f or t he i r own m ast e r
narrat i v e s. " S t ory t e l l e r" ( B 7016) , f or e x am pl e , e m phasi ze s t he pe rspe ct i v e of a
charact e r who woul d be consi de re d m i nor on m ost program s, ge e k y re f orm e d
" supe r v i l l ai n" A ndre w. " The G i rl i n Q ue st i on" ( A 5020) se nds A nge l and S pi k e t o
It al y , ost e nsi bl y on a que st f or B uf f y , but qui t e obv i ousl y f or t he re al purpose of
pe rm i t t i ng t he hom oe rot i c re l at i onshi p be t we e n t he t wo m al e v am pi re s t o e cl i pse
t he i r m ut ual obse ssi on wi t h B uf f y ( who, l i k e a prope r f e t i sh obje ct , i s m uch
di scusse d but doe s not appe ar i n t he e pi sode ) . B ot h shows al so hav e a de e p and
abi di ng i nt e re st i n say i ng t hose t hi ngs whi ch cannot be sai d wi t h words. Thus i n
" H ush" ( B 4010) , t he charact e rs m ust f i nd way s t o e x pre ss t he m se l v e s i n t he
abse nce of spok e n l anguage , whi l e i n " O nce More , wi t h F e e l i ng" ( B 6007) , t he y can
e x pre ss t he i r de e pe st f e e l i ngs—but onl y i n song. S e ri e s cre at or J oss W he don
se e m s de t e rm i ne d t o m ak e use of e v e ry possi bl e f orm of non- l i ngui st i c
com m uni cat i on i ncl udi ng, re m ark abl y , bal l e t ( se e " W ai t i ng i n t he W i ngs, " A 3013) .
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Slayage 24: Call http://slayageonline.com/essays/slayage24/Call.htm
S i nce spok e n di al ogue i s t he m ai n f orm of t e x t ual i t y i n narrat i v e t e l e v i si on, t he

e f f e ct of t he se e x pe ri m e nt s i s t o f ore ground such norm al l y subt e x t ual e l e m e nt s as
ge st ure , f aci al e x pre ssi on, col or, e di t i ng cut s and ( of course ! ) m usi c and
chore ography . ( B ut t he n, G i l e s warne d us way back i n S e ason Two t hat t he subt e x t
i s rapi dl y be com i ng t he t e x t , “ Te d, ” B 2011. )
[ 3] A s se v e ral cri t i cs hav e not e d, B uf f y and A nge l consi st e nt l y use t he i r
subt e x t s t o spe ak about m argi nal i ze d se x ual i t i e s—a st rat e gy whi ch woul d ce rt ai nl y
se e m t o m ak e se nse , gi v e n t he ce nsorshi p re gi m e whi ch dom i nat e s
A ngl o- A m e ri can ne t work t e l e v i si on. S ubt e x t ual re pre se nt at i ons of e rot i c powe r
e x change appe ar wi t h part i cul ar f re que ncy on bot h program s. J ust i ne L arbal e st i e r
has re ce nt l y obse rv e d t hat " f or obv i ous ( A m e ri can pri m e - t i m e TV ) re asons, " B uf f y
st ay s away f rom e x pl i ci t de pi ct i ons of S / M, and " i nst e ad t he re are ge st ure s of
de v i ance , props ( chai ns, l e at he r e t c. ) and be hav i ours t hat sugge st t he se
act i v i t i e s" ( 211) . A re ce pt i v e audi e nce can use t he se ge st ure s t o cre at e e rot i cal l y
radi cal re adi ngs of t he program whi ch woul d di sm ay t e l e v i si on ce nsors ( and
pe rhaps e v e n t he show' s cre at ors) . Est he r S ax e y has argue d pe rsuasi v e l y t hat " t he
m om e nt s of k i nk i n B uf f y f unct i on f or a gl e e f ul audi e nce i n si m i l ar way s t o t he
que e r re cogni t i on m om e nt s" ( 203) . H e re we shoul d unde rst and " k i nk " t o m e an
t hose t he ori e s and pract i ce s whi ch sanct i on t he conse nsual e x change of e rot i c
powe r. Thi s woul d i ncl ude t he pract i ce s of dom i nance and subm i ssi on ( D / S ) ,
bondage and di sci pl i ne ( B / D ) , and sadom asochi sm ( S / M) . F or S ax e y , B uf f y ' s
" m om e nt s of k i nk " pe rm i t an audi e nce of v i e we rs who m i ght be sy m pat he t i c t o
k i nk t o rat i f y t he e x i st e nce of t hat powe rf ul al t e rnat i v e se x ual i t y . S ax e y i s ri ght
t o e m phasi ze t he i m port ance of B uf f y ' s k i nk y m om e nt s, and she i s al so ri ght t o
com pare t he se t o " que e r re cogni t i on m om e nt s. " In ge ne ral t e rm s, " que e r" re f e rs
t o t hose re adi ngs and re pre se nt at i ons whi ch chal l e nge our cul t ure ' s dom i nant
he t e ronorm at i v e l ogi c. W he n di scussi ng e arl y se ason B uf f y ' s subt e x t ual k i nk i n
part i cul ar, i t be com e s ne ce ssary t o use " que e r" as a v e rb. A s W e ndy Pe arson has
obse rv e d, whe n we que e r ce rt ai n t e x t s, we " re cogni ze wi t hi n t he t e x t s t he t race s
of an al t e rnat i v e or di ssi de nt se x ual subje ct i v i t y t hat m ay be re v e al e d t hrough
cl ose and care f ul re adi ng" ( 10) . Part i cul arl y i n B uf f y ' s e arl y se asons, t he si gni f i e rs
of k i nk we re f re que nt l y pre se nt but rare l y di scusse d. A k i nk y i nt e rpre t at i on of
B uf f y was t he re f ore av ai l abl e m ai nl y t o t hose who we re f am i l i ar wi t h such
re adi ngs i n adv ance . In orde r t o acce ss t hat i nt e rpre t at i on, i t was ne ce ssary t o
que e r t he t e x t ; i . e . , bri ng out t he pri m ari l y subt e x t ual e l e m e nt s of k i nk whi ch
we re i m pl i ci t i n i t .
[ 4] Thi s st rat e gy —m ak i ng k i nk av ai l abl e t o t hose " i n t he k now" by cre at i ng
m om e nt s whe n t he k i nk y re adi ng be com e s possi bl e —i s al so e v i de nt i n e arl y
se asons of A nge l . R honda W i l cox and D av i d L av e ry hav e re ce nt l y not e d t hat A nge l
" of t e n use s t he que e r t e x t m e t hod of f re que nt t e x t ual gam e s wi t h t he charact e rs'
se x ual and ge nde r rol e s—e spe ci al l y f or A nge l hi m se l f " ( 228) . The program pl ay s
si m i l ar gam e s wi t h ot he r charact e rs as we l l . S t an B e e l e r obse rv e s t hat t he f i gure
of L orne , A nge l ' s f l am boy ant anagogi c de m on, " i s a st rat e gy f or al l owi ng t he
re pre se nt at i on of t he m argi nal t o appe ar i n m ai nst re am f orm s of di scourse ; f orm s
whi ch woul d not norm al l y t ol e rat e t he re pre se nt at i on of gay m e n wi t hout re course
t o cam p hum our" ( 89) . ( A s L orne sai d t o t he G roosal ug, " W e l l , are n' t y ou just
sne ak y wi t h t he subt e x t ?" “ B e ne di ct i on, ” A 3021) . S i m i l arl y , i n bot h B uf f y and
A nge l , a consi st e nt com m i t m e nt t o e rot i c subt e x t i n ge ne ral and k i nk y subt e x t i n
part i cul ar pe rm i t s t he e x pre ssi on of i de as about e rot i c powe r whi ch woul d be
di f f i cul t t o e x pre ss e x pl i ci t l y on ne t work t e l e v i si on. In he r e x ce l l e nt e ssay , " A
V am pi re i s B e i ng B e at e n: D e S ade Through t he L ook i ng G l ass i n B uf f y and A nge l , "
J e nny A l e x ande r de scri be s what she cal l s t he " canoni cal subt e x t " of t he
B uf f y v e rse :
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In t he k i nk y re gi st e r of t he B uf f y v e rse canon t he show' s que e r and f e m i ni st

se nsi bi l i t i e s st age and e rot i ci se t he bodi e s of t he t ort ure d and dom i nat e d as
al m ost e x cl usi v e l y m al e , whi l st posi t i oni ng part i ci pat i ng wom e n al m ost
e x cl usi v e l y on t op. . . . Thi s canoni cal subt e x t , whi ch pl ay s wi t h t he
e rot i ci sm of t he dom i nat ri x and he r m al e subm i ssi v e at t he junct ure of a
shi f t i ng l at e t we nt i e t h ce nt ury ge nde r, se x and se x ual i t y m at ri x , prov i de s
t he psy cho- ge ographi cal ground on whi ch t he e di f i ce of B uf f y v e rse k i nk - f i c i s
e re ct e d. ( 9)
[ 5] I want t o e ndorse , chal l e nge and bui l d upon A l e x ande r' s argum e nt i n
se v e ral way s. F i rst , I wi sh t o argue t hat k i nk i s pre se nt i n t he B uf f y v e rse not onl y
at t he subt e x t ual l e v e l ( t he l e v e l at whi ch, as A l e x ande r and S ax e y hav e
conv i nci ngl y shown, t he sl ash f an f i c com m uni t y has cl e arl y gai ne d acce ss t o t hat
uni v e rse ) , but al so at t he l e v e l of t he t e x t i t se l f . S e cond, I argue t hat as t he t wo
se ri e s progre ss, subt e x t ual k i nk y ge st ure s are i ncre asi ngl y suppl e m e nt e d, and
e v e nt ual l y re pl ace d, by e x pl i ci t t e x t ual st at e m e nt s and di scussi ons about k i nk .
The re i s an i ncre asi ng norm al i zat i on of k i nk as t he B uf f y v e rse de v e l ops,
part i cul arl y on A nge l . B y t he f i nal se ason of t hat se ri e s, k i nk was out of t he
cl ose t , and coul d jok e about i t se l f as such. " S o t e l l m e . . . why do t he y cal l y ou
S pank y ?" A nge l ask s a m y st i c as he surv e y s t he m an' s rat he r e x t e nsi v e col l e ct i on
of paddl e s and sl appe rs ( “ C onv i ct i on, ” A 5001) . ( A l t hough A nge l ' s back i s t o t he
cam e ra i n t hi s shot , one assum e s t hat he say s t hi s wi t h a que e r, rat he r t han
st rai ght , f ace , part i cul arl y i n l i ght of t he f act t hat A nge l concl ude s t he sce ne by
announci ng proudl y t hat he has " no probl e m spank i ng m e n. " ) The hi st ory of k i nk
i n t he B uf f y v e rse t hus re capi t ul at e s t he hi st ory of que e r. Ini t i al l y onl y caut i ous
subt e x t ual re adi ngs we re possi bl e . O v e r t i m e , howe v e r, t he subt e rrane an di scourse
has be com e i ncre asi ngl y norm al i ze d and has e v e n be com e i ncorporat e d i nt o t he
dom i nant di scourse , t o a ce rt ai n e x t e nt . ( In t he case of t he que e r di scourse , t hi s
i s i l l ust rat e d by t he popul ari t y of program s such as Q ue e r as F ol k , Q ue e r Ey e f or
t he S t rai ght G uy and The L - W ord. ) Thi s hi st ori cal proce ss e v e nt ual l y l e ads t o t he
cre at i on of a l i m i t e d but de f i ni t e space i n whi ch al t e rnat i v e s t o t he
he t e ronorm at i v e m ay be di scusse d ope nl y . In B uf f y and A nge l , t he cri t i que of
he t e ronorm at i v i t y t ak e s t he f orm of an e spe ci al l y e f f e ct i v e t wo- pronge d at t ack .
The B uf f y v e rse ' s que e r di scourse unde rm i ne s t he he t e ro, whi l e t hat uni v e rse ' s
k i nk y di scourse subv e rt s t he norm at i v e .
[ 6] S o, what hi st ori cal m om e nt do B uf f y and A nge l occupy ? C l e arl y , t hi s i s a
m at t e r of som e i m port ance t o que e r t he ory . It i s al so a cruci al que st i on f or what I
cal l k i nk t he ory ( i . e . , t he t he ore t i cal di scourse surroundi ng t he conse nsual
e x change of e rot i c powe r) . J e nny A l e x ande r of f e rs us an i nt ri gui ng hi st ori cal
re adi ng. S he argue s com pe l l i ngl y f or a hi st ori cal narrat i v e whi ch posi t i ons A nge l us
as a cre at i on of S ade ' s e i ght e e nt h ce nt ury , and S pi k e as a cre at i on of Masoch' s
ni ne t e e nt h. In A l e x ande r' s " shi f t i ng l at e t we nt i e t h ce nt ury ge nde r, se x and
se x ual i t y m at ri x " ( 9) , i t i s i m port ant t hat t he " S ade i an pat ri archal past , " i n whi ch
m al e charact e rs dom i nat e wom e n, appe ars onl y i n f l ashback s ( 18) . W i t hi n such a
m at ri x —at t he hi st ori cal m om e nt whe n i t be cam e possi bl e , f i nal l y , t o de v e l op an
e f f e ct i v e cri t i que of pat ri archy - - t he f i gure of t he m al e m asochi st was cl e arl y
cruci al . H owe v e r, bot h B uf f y and A nge l e x t e nd i nt o t he e arl y t we nt y - f i rst ce nt ury .
In t he rapi dl y shi f t i ng worl d of cont e m porary e rot i c pol i t i cs, t he se f e w y e ars m ak e
a cruci al di f f e re nce . L aura D i e hl hi t s t he m ark whe n she obse rv e s t hat :
que e r and f e m i ni st se x radi cal i sm e m phasi ze s rol e s i n se x ual i t y t hat are
i nf i ni t e l y e x change abl e and ne v e r al i gn st at i cal l y wi t h ge nde r ( i . e . m al e
sadi sm and f e m al e m asochi sm ) . The se e rot i cs are e m brace d by t he f i gure of
t he v am pi re , whose de si re i s unge nde re d and f re e - f l oat i ng, a f orce t hat has
no se nse of m an/ wom an, i n/ out , t op/ bot t om bi nari sm s. " ( 47)
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W hat B uf f y and A nge l occupy , t he n, i s a v e ry post m ode rn, e arl y t we nt y - f i rst

ce nt ury m om e nt , i n whi ch t he re i s no dom i nant ge nde r i de nt i t y and no pri v i l e ge d
posi t i on wi t hi n t he st ruct ure of e rot i c powe r. W i t hi n t hi s m om e nt , m al e s and
f e m al e s can e x pe ri e nce sadi sm and m asochi sm , as we l l as dom i nance and
subm i ssi on, and t he posi t i ons are al way s re v e rsi bl e . Pe rhaps we can cal l i t t he A ge
of t he S wi t ch. A nd whi l e D i e hl i s ri ght t o say t hat t he v am pi re e m brace s t hi s
re m ark abl y f re e - f orm e rot i ci sm , v am pi re s are n' t pri v i l e ge d e i t he r. In t he
B uf f y v e rse , e rot i c powe r i s e qual l y av ai l abl e t o hum ans.
[ 7] Inde e d, t he B uf f y v e rse prom ot e s a phi l osophy whi ch unde rst ands powe r
t o be an i ne v i t abl e part of al l e rot i c re l at i onshi ps. C e rt ai nl y e v e ry m ajor
re l at i onshi p on B uf f y and A nge l part ak e s of such powe r: B uf f y / S pi k e , S pi k e / A nge l ,
X ande r/ A ny a, W e s/ L i l ah. W hat ' s m ore , bot h program s sanct i on, at t he subt e x t ual
and t e x t ual l e v e l s, t hose re l at i onshi ps whi ch ack nowl e dge t he i ne v i t abi l i t y of
powe r and st ri v e t o ne got i at e i t s e x pre ssi on i n e t hi cal way s. Powe r, i n t he se
re l at i onshi ps, i s unde rst ood i n F oucaul t i an t e rm s: i t i s e v e ry whe re , whi ch cre at e s
a paradox i cal condi t i on of pe rf e ct f re e dom , si nce powe r f l ows t hrough t he hands of
t he dom i nat e d as we l l as t hrough t hose of t he dom i nat ri x , and si nce t he re l at i ons
of powe r are re v e rsi bl e at any t i m e . The B uf f y v e rse i s t rul y subv e rsi v e , be cause i t
art i cul at e s a phi l osophy of k i nk whi ch hol ds t hat cat e gori e s of dom i nance and
subm i ssi on, sadi sm and m asochi sm e x i st as possi bi l i t i e s wi t hi n any
re l at i onshi p[ 1] , and be cause i t e ncourage s t he e x pl orat i on of t hose cat e gori e s
t hrough t he conse nsual , ne got i at e d e x change of e rot i c powe r. The re i s t hus an
e t hi cs of k i nk i n t he B uf f y v e rse , and i t i s not one whi ch pl e ase s t he guardi ans of
m ai nst re am " v ani l l a" cul t ure , f or i t re je ct s t he non- conse nsual powe r e x change
whi ch i s such a com m on f e at ure of pat ri archal soci e t y ' s v ani l l a re l at i onshi ps, and
adv ocat e s k i nk as an al t e rnat i v e . S m al l wonde r, t he n, t hat t he B B C de ci de d t o
" v ani l l af y " B uf f y f or i t s B ri t i sh audi e nce . [ 2] A nd y e t by doi ng so, B ri t ai n' s
t e l e v i si on ce nsors de ni e d B uf f y ' s B ri t i sh audi e nce t he e t hi cal opt i on of k i nk . It i s
cl e ar t hat t hi s i s a pol i t i cal probl e m . V i v i e n B urr i s ri ght t o prot e st t hat t he B B C ' s
e di t i ng has robbe d B ri t i sh v i e we rs of an opport uni t y f or m oral e ducat i on ( " B uf f y v s
t he B B C " 12) . S uch e di t i ng, of course , cannot re m ov e al l k i nk f rom B uf f y , but i t
can dri v e k i nk back down i nt o t he subt e x t . H e re i t i s m ore dange rous, f or t he l at e
se ason B uf f y v e rse ' s f rank and ope n di scussi ons of powe r al l ow t he cl e ar
art i cul at i on of e t hi cal pri nci pl e s, but t he e t hi cal st at us of subt e x t ual ge st ure s i s
of t e n uncl e ar. J e nny A l e x ande r f i nds t he subt e x t ual canon of t he B uf f y v e rse t o be
k i nk e d i n e t hi cal l y spe ci f i c way s, away f rom t he S ade i an pat ri archal past and
t owards f e m al e dom i nance i n part i cul ar ( 18) . Ye t B uf f y i s so subv e rsi v e t hat i t
e v e n k i nk s i t s own f e m i ni sm . A f t e r t he f i rst f e w se asons of B uf f y , J oss W he don' s
" t ak e back t he ni ght " v i si on ( m onst e r f ol l ows gi rl i nt o dark al l e y , gi rl k i ck s
m onst e r' s but t ) was so we l l e st abl i she d t hat he coul d be gi n t o pl ay wi t h i t i n
i ncre asi ngl y radi cal way s. " I k now y ou' v e got t hi s whol e F e m al e Powe r, Tak e B ack
t he Ni ght t hi ng, and I t hi nk t hat ' s cut e , " H al f re k t e l l s A ny a l at e i n B uf f y S e ason
S i x ( “ Ent ropy , ” B 6018) . S ure , H al f re k ' s a v e nge ance de m on, but she ' s a
sy m pat he t i c one , and she unde rst ands som e t hi ng i m port ant : t he B uf f y v e rse
aut hori ze s m al e powe r, t oo. S pi k e has i t . Ev e n W e sl e y has i t . S o y e s, t he
B uf f y v e rse of f e rs us radi cal i m age s of dom i nant wom e n and subm i ssi v e m e n. B ut
i t al so gi v e s us re v ol ut i onary i m age s of pe opl e whose posi t i ons wi t hi n t he
f ram e work of e rot i c powe r are subje ct t o const ant change .
[ 8] It woul d be e asy t o assum e t hat t he se f l ui d, f l e x i bl e , re v e rsi bl e powe r
re l at i ons are t o be f ound onl y i n t he worl d of t he v am pi re . V i v i e n B urr, f or
e x am pl e , has argue d t hat " e rot i c powe r re si de s pri m ari l y i n t he hum an/ v am pi re
re l at i onshi ps, " and t hat t he e rot i ci sm of t he se re l at i onshi ps l i e s i n t he i r
am bi gui t y . " D oe s he re al l y l ov e he r or hat e he r? D e si re he r or want t o k i l l he r?"
( " A m bi gui t y and S e x ual i t y " 353) . The answe r t o t he se prov ocat i v e que st i ons i s
4 of 27 9/8/07 12:15 PM
" y e s. " " No, I' l l sav e he r, t he n I' l l k i l l he r, " si ngs S pi k e ( “ O nce More , W i t h
F e e l i ng, ” B 6007) . B uf f y prov i de s us wi t h com pl e x , i nt ri cat e v am pi re - hum an
re l at i ons whose m ajor sy m bol i c si gni f i cance l i e s i n t he f act t hat t he se re l at i ons
m ode l t he e x change of e rot i c powe r. The se re l at i onshi ps are e rot i c pre ci se l y t o t he
e x t e nt t hat t he y re m ai n conse nsual ; conse nt , i n t he B uf f y v e rse as i n our worl d, i s
a cruci al pre condi t i on f or t he e rot i c e x change of powe r, and a v i t al boundary whi ch
se parat e s e rot i c powe r f rom powe r' s une t hi cal f orm s. B e cause v am pi re - hum an
re l at i ons m ak e e x pl i ci t t he powe r dy nam i cs whi ch B urr ( f ol l owi ng S art re ) f i nds t o
be i nhe re nt i n al l e rot i c re l at i ons, B urr i s al so abl e t o argue t hat t he se re l at i ons
" of f e r a m ore re cogni zabl e e x pe ri e nce of se x ual re l at i onshi ps as t he y are act ual l y
l i v e d, and t hat t hi s i s an i m port ant f act or i n t he i r obv i ous appe al t o t he audi e nce "
( " A m bi gui t y and S e x ual i t y " 344) .
[ 9] S o B uf f y doe s not of f e r an e scapi st f ant asy of i m agi nary powe r
re l at i ons. Inst e ad, i t prov i de s a v e ry re al and m e ani ngf ul account of t he way s i n
whi ch powe r m ust i ne v i t abl y f l ow t hrough e rot i c re l at i onshi ps. W hat i s m ore , i t
of f e rs us cl e ar st rat e gi e s by whi ch we m ay conf ront t hat i ne v i t abi l i t y , de al wi t h i t ,
and l e ad e t hi cal l i v e s i n a worl d whe re powe r i s om ni pre se nt . I m ust t he re f ore
chal l e nge one of B urr' s concl usi ons. S he f i nds t hat " S M i s re gul arl y port ray e d and
t he re f ore av ai l abl e as a se x ual st ory f or audi e nce s t o e ngage wi t h, but i t i s
associ at e d onl y wi t h v am pi re ( and t he re f ore pe rv e rt e d) se x ual i t y . It has be e n
hi v e d of f i nt o a v am pi re ghe t t o" ( " A m bi gui t y and S e x ual i t y " 357) . In t he l at e r
se asons of B uf f y and t hroughout A nge l , S / M and e rot i c powe r e x change e scape
f rom t he i r v am pi re ghe t t o. O n bot h program s, k i nk i s i ncre asi ngl y port ray e d as a
v i abl e e t hi cal and e rot i c opt i on. A nd i t i sn' t just f or v am pi re s ( and gui l t - ri dde n
S l ay e rs) any m ore . B y t he e nd of t he se ri e s, e v e n t he hum an- hum an
re l at i onshi ps—X ande r and A ny a, or W e sl e y and L i l ah—hav e be com e t horoughl y
k i nk e d. Inde e d, one woul d be hard pre sse d t o f i nd a pure l y v ani l l a re l at i onshi p i n
t he B uf f y v e rse . B uf f y pre di ct e d as e arl y as S e ason O ne t hat ne i t he r she nor he r
f ri e nds woul d e v e r hav e a norm al re l at i onshi p ( “ I R obot —You J ane , ” B 1008) . B ut i t
i s onl y i n t he l at e r se asons t hat we re al i ze t hi s m ay be a good t hi ng. The
B uf f y v e rse sy st e m at i cal l y obl i t e rat e s t he v e ry conce pt of a " norm al " se x ual i t y . It
prov i de s us wi t h a re v ol ut i onary m ode l of se x ual i t y i n whi ch t he e x pl i ci t
re cogni t i on and e t hi cal ne got i at i on of powe r re l at i ons i s t he norm . S uch
ne got i at i on i s pre se nt e d as a pre condi t i on f or t he e rot i c. The pre se nce of k i nk i n
t he B uf f y v e rse ' s l ov i ng hum an- hum an re l at i onshi ps pe rm i t s t hi s m ode l t o e scape
t he re al m of f ant asy and al l ows k i nk t o be com e an opt i on f or t he audi e nce as
we l l . B y t he e nd of A nge l , t he se t wo se ri e s had achi e v e d som e t hi ng whi ch woul d
hav e be e n unt hi nk abl e i n any pre v i ous hi st ori cal m om e nt . The y had pre se nt e d an
audi e nce com pose d m ai nl y of y oung pe opl e wi t h a consi st e nt phi l osophy of e rot i c
powe r. Thi s phi l osophy i ncl ude d a sophi st i cat e d sy st e m of e t hi cs and an e t hi cal l y
i nf orm e d se x ual pract i ce whi ch corre sponde d qui t e cl ose l y t o t hat of t he re al worl d
B D S M com m uni t y . [ 3] B uf f y and A nge l we re abl e t o bri ng k i nk out of t he cl ose t ,
norm al i ze i t , de m y st i f y i t , and pre se nt i t as a pot e nt i al l y posi t i v e e l e m e nt of
hum an e rot i c re l at i ons. The t wo program s hav e t hus m ade a m ajor cont ri but i on t o
t he t he ory and pract i ce of e rot i c powe r e x change .
I . "I Believe th e S u btext Here is Rapidly Becom in g Text": Th e

S h ift from S u btextu al to Textu al Represen tation s of Erotic
P ow er
" Did We No t Put t he 'Gr r ' in 'Gr r l'?" : Will t o Po w e r
5 of 27 9/8/07 12:15 PM
[ 10] Ev e ry one i n t he B uf f y v e rse f ol l ows t he pat h of powe r i n one way or anot he r,

but nobody t rav e l s f urt he r on t hat pat h t han W i l l ow. W i l l ow' s st ory shows us how
re pre se nt at i ons of e rot i c powe r e v e nt ual l y e scape f rom t he B uf f y v e rse ' s subt e x t
and e nt e r t he re al m of t he t e x t ual . B uf f y ' s be st f ri e nd com e s f rom hum bl e
be gi nni ngs. S he st art s t he se ri e s as a shy , f ashi on- chal l e nge d com put e r ne rd. " I
don' t ge t wi l d, " she de cl are s i n t he f i rst H al l owe e n e pi sode ( “ H al l owe e n, ” B 2006) .
It ' s e nt e rt ai ni ng t o re - re ad t hi s e arl y se l f - di agnosi s i n l i ght of W i l l ow' s e v e nt ual
de st i ny ( " I f l ay e d a guy al i v e and t ri e d t o de st roy t he worl d, " “ O rphe us, ” A 4015) .
C l e arl y , W i l l ow doe s ge t wi l d, and not al way s i n a good way . S o t he cruci al
que st i ons are , whe n and how doe s W i l d W i l l ow e m e rge ? W e ge t i nt i m at i ons of t he
e rot i c nat ure of W i l l ' s wi l dne ss whe n she re l uct ant l y dons a hal t e r t op and l e at he r
m i ni sk i rt f or H al l owe e n. " B ut t hi s just i sn' t m e , " she prot e st s. " A nd t hat ' s t he
poi nt , " B uf f y re pl i e s. D e si re i s st i l l scary i n S e ason Two, but e v e n so, B uf f y i s
abl e t o i nt roduce he r i nt rov e rt e d f ri e nd t o t he i m port ant conce pt of i de nt i t y
hack i ng. O n H al l owe e n ni ght , she can be W i l d W i l l ow ( at l e ast i n t he ory : i n
pract i ce , she chi ck e ns out and put s a ghost cost um e on ov e r t he se x y out f i t ) .
[ 11] Earl y se asons of B uf f y of f e r W i l l ow
pl e nt y of saf e opport uni t i e s f or cl ose t e d S / M e x pe ri m e nt at i on. W he n y ou l i v e
on a H e l l m out h, af t e r al l , y ou can al m ost al way s cl ai m t hat y ou' v e be e n unde r t he
i nf l ue nce of som e spe l l or m y st i cal posse ssi on. W he n X ande r' s l ov e spe l l
back f i re s, W i l l ow and e v e ry ot he r wom an i n S unny dal e f al l s m adl y i n l ust wi t h hi m
( “ B e wi t che d, B ot he re d, and B e wi l de re d, " B 2016) . The probl e m l i e s i n t he f orm of
W i l l ow' s de si re . W he n X ande r i s ov e rwhe l m e d by hi s f ri e nd' s unwant e d at t e nt i ons,
he t hre at e ns t o re st rai n he r by f orce i f ne ce ssary . W i l l ow i nf orm s hi m t hat " f orce
i s O K ! " The spe l l cre at e s de si re i n al l wom e n ( e x ce pt C ordy ! ) , y e t onl y W i l l ow
gi v e s t hat de si re a spe ci f i cal l y sadom asochi st i c f orm . Thi s sugge st s t hat W i l l ow i s
i nhe re nt l y k i nk y and t hat t he spe l l has si m pl y brought t hat k i nk t o t he surf ace .
The spe l l prov i de s B uf f y wi t h a re l at i v e l y saf e way t o addre ss W i l l ow' s k i nk . The
k i nk i s m ade bri e f l y e x pl i ci t , but t he de v i ce of t he spe l l e nsure s t hat t hi s k i nk i s
brack e t e d of f f rom t he canoni cal t e x t ( si nce t he se act s we re not pe rf orm e d by t he
" re al W i l l ow " ) . W he n t he spe l l i s brok e n, W i l l ow' s k i nk re t re at s i nt o t he subt e x t .
[ 12] It doe sn' t st ay t he re , howe v e r. B uf f y ' s e arl y se ason st rat e gy of
al l owi ng k i nk bri e f l y out of t he cl ose t v i a a spe l l re ache s i t s hi ghe st e x pre ssi on i n
" The W i sh" ( B 3009) and i t s se que l " D oppe l gängl and" ( B 3016) . The f i rst of t he se
e pi sode s, a m ul t i - si gni f y i ng m ast e rpi e ce by Mart i Nox on, conce rns t he f ul f i l l m e nt
of wi she s: t e x t ual l y , C orde l i a' s wi sh t hat B uf f y had ne v e r com e t o S unny dal e ;
subt e x t ual l y , W i l l ow ' s wi sh " t o be st rong W i l l ow . " S he i s spe ak i ng i n t he cont e x t
of he r re ce nt bre ak up wi t h O z, but t he f ul f i l l m e nt of he r wi sh t ak e s an une x pe ct e d
f orm . C ordy ' s wi sh i ni t i at e s an al t e rnat e re al i t y ( t he " W i shv e rse " ) i n whi ch v am ps
rul e S unny dal e . In a be aut i f ul sy m m e t ry , t hi s worl d cre at e s t he condi t i ons i n
whi ch W i l l ow m ay l e arn how t o f ul f i l l he r wi sh. S pe ci f i cal l y , t he W i shv e rse cre at e s
V am p W i l l ow, t he pol y m orphousl y pe rv e rse , sadom asochi st i c v e rsi on of W i l l ow
whose e x pl i ci t t e x t ual k i nk i s sanct i one d by he r st at us as an al t e rnat e W i l l ow .
V am p W i l l ow i s e v e ry t hi ng t hat V ani l l a W i l l ow aspi re s t o be . S he i s hone st about
he r de si re . S he k nows what she want s, and she i ni t i at e s ne got i at i on wi t h V am p
X ande r t o ge t i t : " Pl ay now?" The sce ne i n whi ch t he t wo v am pi re s dri nk C orde l i a
t oge t he r i s cl e arl y f i l m e d as a se x sce ne ; t he v am pi re s are m ak i ng l ov e t o e ach
ot he r t hrough C orde l i a' s body and bl ood.
[ 13] V am p W i l l ow i s ge ne ral l y sadi st i c; she wat che s as t he Mast e r' s
bl ood- harv e st i ng de at ht rap drai ns a gi rl , and t he l ust i n he r e y e s i s posi t i v e l y
pal pabl e . H owe v e r, he r se x ual i t y e x ce e ds si m pl e sadi sm . S he shows cl e ar
af f e ct i on—e v e n l ov e —f or V am p X ande r. V am p W i l l ow i s al so v e ry swi t chy . S he
rut hl e ssl y dom i nat e s t he W i shv e rse A nge l ( V am p X ande r l i k e s t o wat ch he r pl ay
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wi t h he r " puppy " ) , but she subm i t s t o t he Mast e r. W he n V ani l l a W i l l ow m e e t s he r

v am pi re doubl e i n " D oppe l gängl and" ( B 3016) , she f i nds t he e x pe ri e nce v e ry
e ducat i onal . L orna J owe t t has poi nt e d out t hat " pl e asure can ce rt ai nl y be gai ne d
f rom he r al t e rnat e v e rsi on of W i l l ow, he r act i ng out as ' bad' and as m ore se x y or
se x ual t han re gul ar W i l l ow" ( 81) . H owe v e r, W i l l ow i s not si m pl y " act i ng out " ; she
i s al so t ry i ng t o com e out . S he i s se x ual ( and k i nk y ! ) ; she ' s just hav i ng t roubl e
adm i t t i ng i t t o he rse l f . S he m ay t ry t o di sm i ss he r v am pi re se l f as " e v i l and. .
. sk ank y " ( B 3016) , but si nce V am p W i l l ow re pre se nt s a re pre sse d de si re , V ani l l a
W i l l ow' s re v ul si on conf i rm s t hat de si re rat he r t han e l i m i nat i ng i t . W i l l ow t ri e s t o
de ny k i nk any pl ace i n he r " norm al " l i f e : " O h, ri ght . Me and O z pl ay ' Mi st re ss of
Pai n' e v e ry ni ght " ( B 3016) . B ut t hi s st at e m e nt onl y e ncourage s B uf f y ' s f ri e nds
( and t he audi e nce ) t o ask " we l l , why not ?" O z i s a we re wol f , af t e r al l , whi ch
m e ans t hat v ani l l a re l at i ons are out of t he que st i on f or at l e ast t hre e ni ght s a
m ont h i n any case . W i l l ow' s f ri e nds re act t o t he t hought of K i nk y W i l l ow wi t h
di sgust . R e adi ng t hi s sce ne wi t h l at e r de v e l opm e nt s i n m i nd, howe v e r, i t i s e asy
t o se e t hat bot h B uf f y and X ande r prot e st f ar t oo m uch. A s f or t he audi e nce , t he y
re spond by ge ne rat i ng gi gaby t e s of e rot i c f an f i c about t he " Mi st re ss of Pai n. "
[ 14] S o W i l l ow wi t ne sse s t he e rot i c powe r of t he W i shv e rse . In f act , she
part i ci pat e s i n t hat powe r. In " D oppe l gängl and" ( B 3016) , J oss W he don di re ct s
A l y son H anni gan i n an am azi ng pe rf orm ance of V ani l l a W i l l ow pe rf orm i ng V am pi re
W i l l ow. Thi s pl ay —t e x t ual l y sanct i one d as a ruse t o f ool V am p W i l l ow' s
gang—cont i nue s t o haunt V ani l l a W i l l . S he be com e s i ncre asi ngl y f rust rat e d by t he
l ack of k i nk i n he r l i f e . S he i s ge nui ne l y upse t whe n S pi k e i s unabl e t o bi t e he r
( “ The Ini t i at i v e , ” B 4007) , and she com pl ai ns t hat " e v e ry one ' s ge t t i ng spank e d but
m e " ( “ The I i n Te am , ” B 4013) . W i l l ow want s out of t he cl ose t , but i t t ak e s t he
t rage dy and t raum a of S e ason F i v e t o ge t he r t he re . A f t e r J oy ce ' s de at h, Tara
t e l l s W i l l ow t hat t he t wo of t he m can be st rong. W e e pi ng W i l l ow re ache s f or t hi s
hope : " S t rong l i k e an A m azon?" ( “ The B ody , ” B 5016) . Tara re pl i e s, " S t rong l i k e
an A m azon, ri ght . " S e ason F i v e al so ack nowl e dge s t he e x ce pt i onal nat ure of
W i l l ow ' s st re ngt h. W he n G l ory suck s t he sani t y out of Tara , we ge t our f i rst
gl i m pse of D ark W i l l ow. " I owe y ou pai n! " she cri e s, and m ak e s wi t h t he bag of
k ni v e s ( “ Tough L ov e , ” B 5019) . In t he se ason f i nal e , B uf f y cal l s W i l l ow " t he
st ronge st pe rson he re , " and poi nt s out t hat W i l l ow i s t he onl y one who has e v e r
e v e n hurt G l ory ( “ The G i f t , ” B 5022) . O f course , what i s re m ark abl e about W i l l ow
' s powe r i s t he f act t hat i t i s pure l y he rs. S he has no S l ay e r or v am pi re
st re ngt h—just a conne ct i on, as G i l e s l at e r t e l l s he r, t o a gre at powe r ( “ L e ssons, ”
B 7001) .
[ 15] W i l l ow be gi ns S e ason S e v e n t e rri f i e d of t hat powe r, conv i nce d t hat she
cannot use i t wi t hout re v e rt i ng t o t he D ark W i l l ow who k i l l e d W arre n and ne arl y
de st roy e d t he worl d i n t he pre v i ous se ason. S e ason S e v e n i s t he m om e nt whe n
W i l l ow f i nal l y l e arns how t o e rot i ci ze he r powe r and how t o use i t saf e l y , sane l y
and conse nsual l y . A s W i l l ow l e arns t he se cruci al l e ssons, B uf f y prov i de s
i ncre asi ngl y t e x t ual re pre se nt at i ons of he r e rot i c powe r. " I am t he powe r, " W i l l ow
re al i ze s i n " C onv e rsat i ons W i t h D e ad Pe opl e " ( B 7007) . W i l l ow has l e arne d t hat t he
di st i nct i ons she was so de spe rat e l y t ry i ng t o m ai nt ai n be t we e n he r " se l f " and he r
powe r are i l l usory . S he unde rst ands he rse l f now as a hum an node wi t hi n an
anci e nt powe r m at ri x —a rat he r F oucaul t i an pe rspe ct i v e . H e r ne x t m ov e i s e rot i c,
k i nk y and que e r ( agai n wi t h t he F oucaul t ! ) . W i l l ow de v e l ops a re l at i onshi p wi t h
K e nne dy , one of t he pot e nt i al S l ay e rs. L orna J owe t t i s qui t e ri ght t o sugge st t hat
t hi s re l at i onshi p i s e rot i ci ze d by t he t e nsi on whi ch W i l l ow ' s powe r cre at e s ( 59) .
K e nne dy i m m e di at e l y st art s t o e rot i ci ze W i l l ow ' s dark si de : " B i g, scary W i l l ow ?
That ' s som e t hi ng I' d al m ost l i k e t o se e " ( “ S howt i m e , ” B 7011) . A t t hi s poi nt ,
W i l l ow i s ri ght on t he cusp. S he ' s com e out of pl e nt y of cl ose t s i n he r day : f i rst
about t he wi t chcraf t , and t he n " H e l l o? G ay now! " ( “ Tri angl e , ” B 5011) . S he ' s
7 of 27 9/8/07 12:15 PM
al m ost re ady t o com e out about k i nk . To bri ng B uf f y back f rom t he dre am t i m e

af t e r he r e ncount e r wi t h t he S hadow Me n, W i l l ow m ust draw upon K e nne dy ' s
st re ngt h. K e nne dy i s cl e arl y at t ract e d t o W i l l ow ' s k i nk y si de , and she has
conse nt e d t o e x change e rot i c powe r wi t h W i l l ow . A s a pot e nt i al S l ay e r, K e nne dy
k nows som e t hi ng about powe r' s e rot i c nat ure he rse l f . A nd y e t she i s st i l l scare d
whe n W i l l ow i nt roduce s pai n and powe r i nt o t he i r re l at i onshi p by drai ni ng
K e nne dy ' s st re ngt h so t hat she can bri ng B uf f y back . " I t hought i t woul d be . . . I
don' t k now, cool som e how. It just hurt , " K e nne dy say s ( “ G e t i t D one , ” B 7015) .
[ 16] F ri ght e ne d by t hi s gl i m pse of W i l l ow ' s t rue powe r, K e nne dy back s of f .
Thi s gi v e s W i l l ow an opport uni t y t o e x pe ri m e nt out si de of he r re l at i onshi p wi t h
K e nne dy . W i l l ow t ak e s a bri e f t ri p t o L . A . , whe re she and F re d cast a spe l l whose
ri t ual s re qui re F re d t o pe rf orm what can onl y be cal l e d " pony pl ay " ( “ O rphe us, ”
A 4015) . F re d t rot s around t he l obby of A nge l ' s hot e l ri ngi ng a sm al l be l l , whi l e
W i l l ow ge nt l y corre ct s he r post ure and assure s he r t hat she ' s m ak i ng " good be l l s. "
A t t he e nd of he r v i si t , W i l l ow ne rv ousl y i nf orm s F re d t hat she ' s se e i ng som e one .
C l e arl y t he re i s an e rot i c conne ct i on be t we e n W i l l ow and F re d. Unde r t he e t hi cal
rul e s of t he B uf f y v e rse ( whi ch corre spond t o t hose of m any re al worl d B D S M
re l at i onshi ps) , W i l l ow m ay pl ay wi t h F re d, whi l e re m ai ni ng se x ual l y m onogam ous
wi t h K e nne dy .
[ 17] H e r posi t i v e e x pe ri e nce wi t h F re d gi v e s W i l l ow t he conf i de nce she
ne e ds t o conf ront he r f e ar ( and K e nne dy ' s) . S he m ay now cont i nue bui l di ng he r
e rot i c re l at i onshi p wi t h t he pot e nt i al S l ay e r. B y t he e nd of t he se ri e s, W i l l ow i s
abl e t o e m brace and re v e l i n t he l oss of cont rol t hat com e s wi t h e rot i c powe r
e x change " i n a ni ce , whol e som e , ' m y gi rl f ri e nd has a pi e rce d t ongue ' k i nd of way "
( “ C hose n , ” B 7022) . W hat W i l l ow i s re al l y e x pe ri e nci ng he re i s t he l oss of
re pre ssi on. A t t he concl usi on of t he se ri e s, W i l l ow ' s de si re i s f i nal l y l i be rat e d.
C onf i de nt at l ast t hat he r powe r i s e rot i c and be aut i f ul , W i l l ow work s t he spe l l
t hat act i v at e s t he Pot e nt i al s. It i s W i l l ' s wi l l whi ch cre at e s t he ne w com m uni t y of
S l ay e rs. A nd she work s t hat wi l l t hrough an act of l ov e . H e r spe l l gi v e s he r an
e rot i c conne ct i on wi t h al l of t he ( no l onge r just pot e nt i al ) S l ay e rs. The t e x t ual
re qui re m e nt s of B uf f y are such t hat t he program m ust concl ude wi t h a m assi v e
v am pi re - S l ay e r f i ght sce ne . B ut we m ust not l e t t hi s f i ght sce ne di st ract us f rom
t he m ore radi cal l ov e sce ne whi ch unf ol ds as W i l l ow cast s he r spe l l . Thi s sce ne
de pi ct s t he re de m pt i on of W i l l ow ' s powe r. A s she cast s t he m ost powe rf ul spe l l
she has e v e r at t e m pt e d, W i l l ow i s t ransf orm e d once m ore —but t hi s t i m e i nt o
W hi t e W i l l ow. " You' re a godde ss! " cri e s K e nne dy as he r l ov e r change s be f ore he r
e y e s. Ye t i t i s cl e ar t hat W i l l ow i s no m ore or l e ss a godde ss t han any ot he r
wom an who has f ound t he courage t o e m brace t he e rot i c powe r whi ch f l ows
t hrough he r. It i s e qual l y cl e ar t hat by t he e nd of t he se ri e s, B uf f y i s abl e t o
prov i de ope n, hone st , t e x t ual re pre se nt at i ons of W i l l ow ' s e rot i c powe r.
" Give Me So m e t hing t o Sing A b o ut " : B uffy a nd Sp ik e

[ 18] No re l at i onshi p i n t he B uf f y v e rse has ge ne rat e d m ore cont rov e rsy t han
B uf f y ' s k i nk y af f ai r wi t h S pi k e . Thom as H i bbs has cal l e d i t " t he m ost de m oral i zi ng
subpl ot i n t he si x t h se ason" ( 57) . C arl a Mont gom e ry asse rt s t hat " t he re i s
absol ut e l y not hi ng he al t hy i n t hi s re l at i onshi p ot he r t han t he i r m ut ual l i bi dos"
( 154) . Int e re st i ngl y , howe v e r, B uf f y ' s audi e nce re sponde d v e ry di f f e re nt l y t o
B uf f y ' s sadom asochi st i c i nt e ract i ons wi t h S pi k e . The B uf f y f an com m uni t y re ad t he
B uf f y / S pi k e re l at i onshi p i n a f ar m ore posi t i v e l i ght . Inde e d, B uf f y ' s audi e nce
be cam e so i nf at uat e d wi t h B uf f y and S pi k e t hat t he show' s produce rs f e l t i t
ne ce ssary t o wri t e a sce ne i n whi ch S pi k e at t e m pt s t o rape B uf f y , i n orde r t o
dam pe n f an e nt husi asm f or t hi s re l at i onshi p ( H e i ne ck e n 38) . The cruci al que st i on,
8 of 27 9/8/07 12:15 PM
t he n, i s t hi s: why we re t he show' s produce rs so t e rri f i e d by t he posi t i v e f an

re act i on t o B uf f y and S pi k e ' s sadom asochi st i c pl ay ? W hat was i t about t hat pl ay
whi ch was so dange rous t hat t he show' s wri t e rs f e l t com pe l l e d t o al t e r t he
st ory l i ne i n a f ai rl y unnat ural di re ct i on, i n t he hope s t hat v i e we rs woul d not
cont i nue t o e ndorse i t ? J e nni f e r C rusi e has argue d com pe l l i ngl y t hat " t he cont i nue d
i nsi st e nce t hroughout se ason si x t hat t hi s re l at i onshi p i s wrong, unhe al t hy ,
sy m bol i c of som e t hi ng e v i l and i m m oral i s not onl y i ne x pl i cabl e but annoy i ng,
whi ch i s probabl y why so m any v i e we rs are unhappy wi t h t he di re ct i on t he se ri e s
t ak e s i n t he si x t h se ason: t he y we re re adi ng a di f f e re nt m e t aphor t han t he wri t e rs
i nt e nde d" ( " D at i ng D e at h" 94) . W hat , t he n, i s t hi s m e t aphor, and what i s i t s
si gni f i cance t o t he ope rat i on of e rot i c powe r i n t he B uf f y v e rse ?
[ 19] In he r e x ce l l e nt que e r re adi ng of S pi k e , D e e A m y - C hi nn argue s t hat
" S pi k e ' s que e rne ss be com e s t he source of hi s powe r, part i cul arl y of hi s e rot i c
powe r" ( 314) . H e r conv i nci ng anal y si s e x pl ai ns why B uf f y ' s produce rs be gan t o
f e ar t he i r own cre at i on. F or A m y - C hi nn, " S pi k e e x e m pl i f i e s t he bre ak down of
ge nde re d bi nari e s t hat unde rpi n t he he t e ronorm at i v e m at ri x , and by hi s act i ons
se e k s t o l e gi t i m at e som e of t hose m i nori t y se x ual pract i ce s whi ch ge ne rat e
anx i e t y " ( 326) . Thi s re adi ng sugge st s t hat t he cre at ors of B uf f y —who, de spi t e
t he i r obv i ous sy m pat hy t owards k i nk , are st i l l const rai ne d by t he he t e ronorm at i v e
cul t ural l ogi c of ne t work t e l e v i si on—f e l t t he y coul d not ri sk unl e ashi ng an e x pl i ci t ,
posi t i v e port ray al of sadom asochi sm upon an unsuspe ct i ng t e l e v i si on audi e nce .
The y t hus f ound i t ne ce ssary t o unde rm i ne t he k i nk - posi t i v e re adi ng of
B uf f y / S pi k e . B ut by m ak i ng t hi s choi ce , t he wri t e rs of B uf f y ( m uch l i k e t he B B C
e x e cut i v e s who at t e m pt e d t o v ani l l af y t he B ri t i sh v e rsi on) we re de pri v i ng t he i r
audi e nce of a v al uabl e opport uni t y . B uf f y ' s k i nk - f ri e ndl y audi e nce re cogni ze d what
t he program ' s wri t e rs pe rhaps coul d not : k i nk of f e rs i t s pract i t i one rs a num be r of
v i t al be ne f i t s and adv ant age s, m any of whi ch B uf f y and S pi k e e njoy i n t he course
of t he i r re l at i onshi p.
[ 20] The re l at i onshi p be t we e n B uf f y and S pi k e i s prof oundl y e rot i c, and t hi s
i s t rue f rom t he be gi nni ng. Nat ural l y , re pre se nt at i ons of t he e rot i c powe r whi ch
f l ows be t we e n t he t wo charact e rs are i ni t i al l y f ound at t he subt e x t ual l e v e l . S pi k e
i ni t i at e s t he re l at i onshi p by braggi ng about t he S l ay e rs he has k i l l e d ( “ S chool
H ard, ” B 2003) . A t f i rst , t hi s se e m s l i k e t y pi cal " B i g B ad" post uri ng; howe v e r, i f
we re ad t hi s v i ol e nt brav ado wi t h B uf f y / S pi k e ' s subse que nt S / M re l at i onshi p i n
m i nd, i t st art s t o l ook m ore l i k e f ore pl ay . O f course , t hi s re adi ng i s av ai l abl e onl y
i n re t rospe ct . If we we re de al i ng wi t h an ordi nary t e l e v i si on program , i t woul d
pe rhaps be probl e m at i c t o re ad t he e arl y be hav i or of t he charact e rs i n t e rm s of
m ot i v at i ons whi ch e m e rge d onl y l at e r i n t he narrat i v e . B ut B uf f y i s no ordi nary
program . The show' s wri t e rs hav e ack nowl e dge d what R oz K av e ne y cal l s
" i nadv e rt e nt f ore shadowi ng" ( " W ri t i ng t he V am pi re S l ay e r" 107) . B uf f y ' s
charact e rs are so cohe re nt and so re al i st i c t hat t he y of t e n appe ar t o be spe ak i ng
t hrough t he wri t e rs, and t hi s f re que nt l y occurs at an unconsci ous l e v e l . F or
e x am pl e , B uf f y wri t e r J ane Espe nson has not e d t hat W i l l ow ' s l e sbi ani sm was
f ore shadowe d i n " D oppe l gängl and" ( B 3016) . " W he n we st art e d pl ot t i ng t he Tara
arc i n S e ason F our, " she re m ark s, " J oss [ W he don] sai d, ' W e re we pl anni ng t hi s
back t he n?' A nd e v e n he di dn' t k now f or sure " ( qt d. i n K av e ne y , " W ri t i ng t he
V am pi re S l ay e r" 107- 8) . G i v e n B uf f y ' s uni que scri pt i ng proce ss, t he n, i t m ay be
re asonabl e f or us t o re ad a charact e r' s act i ons i n l i ght of l at e r de v e l opm e nt s.
C e rt ai nl y B uf f y ' s cri t i cs hav e be e n wi l l i ng t o re ad sadom asochi st i c m ot i v at i ons i nt o
B uf f y ' s e arl y i nt e ract i ons wi t h S pi k e . Thus Te rry L . S pai se has i de nt i f i e d e l e m e nt s
of S / M i n " t he phy si cal and v e rbal sparri ng t hat B uf f y and S pi k e hav e i ndul ge d i n
ov e r t he y e ars" ( 750) . It ' s al so cl e ar t hat B uf f y and S pi k e bot h part i ci pat e i n t hi s
" sparri ng. " In t he i r f i rst e ncount e r, B uf f y prom i se s S pi k e t hat " i t ' s gonna hurt a
l ot " ( “ S chool H ard, ” B 2003) . B uf f y has no i de a, at t hi s poi nt , just how t rue t hat
9 of 27 9/8/07 12:15 PM
i s.
[ 21] B uf f y / S pi k e f ol l ows t he t y pi cal pat t e rn of powe r- e x change re l at i onshi ps
on B uf f y ( i . e . , i t be com e s i ncre asi ngl y e x pl i ci t and t e x t ual i n l at e r se asons) . Earl y
i n S e ason F i v e , S pi k e has a se x ual dre am i n whi ch B uf f y st ak e s hi m ( “ O ut of My
Mi nd, ” B 5004) . A s a pol y m orphousl y pe rv e rse v am pi re , S pi k e has an e asi e r t i m e
i ncorporat i ng unconsci ous de si re s i nt o hi s consci ous l i f e t han doe s B uf f y ; t hus, he
i s abl e t o hav e se x wi t h H arm ony whi l e f ant asi zi ng about f i ght i ng t he S l ay e r
( “ F am i l y , ” B 5006) . S pi k e and H arm ony e v e n e ngage i n k i nk y v am pi re - S l ay e r rol e
pl ay i ng, wi t h H arm ony t ak i ng on t he rol e of B uf f y i n an at t e m pt t o sat i sf y S pi k e ' s
e rot i c de si re s ( “ C rush, ” B 5014) . H e re as e l se whe re , t he v am pi re com m uni t y shows
a cl ose k i nshi p wi t h t he re al worl d B D S M com m uni t y : i n bot h com m uni t i e s, f ant asy
rol e pl ay i ng i s use d as a saf e way t o f ul f i l l de si re s whose l i t e ral e x pre ssi on i s
e i t he r phy si cal l y dange rous or unacce pt abl e t o t he com m uni t y . ( B y v am pi re
st andards, t he de si re t o ge t st ak e d by a S l ay e r i s ce rt ai nl y bot h. ) A s S pi k e ' s
de si re be com e s m ore e x pl i ci t , B uf f y be com e s i ncre asi ngl y aware of t he nat ure of
t hat de si re : " I do be at hi m up a l ot . F or S pi k e t hat ' s l i k e t hi rd base " ( B 5014) .
[ 22] A t t hi s poi nt i n t he narrat i v e , i t i s not y e t possi bl e f or B uf f y t o
e m brace ope nl y t he e rot i c possi bi l i t i e s whi ch S pi k e of f e rs he r. H owe v e r, B uf f y i s
de t e rm i ne d t o pl ay wi t h t hose possi bi l i t i e s none t he l e ss. W arre n ' s " B uf f y bot " —a
ne arl y pe rf e ct robot re pl i ca of B uf f y —pe rm i t s t hi s. Ini t i al l y com m i ssi one d by S pi k e
t o se rv e as a se x t oy , t he B uf f y bot e nabl e s som e f asci nat i ng m e di t at i ons on t he
e t hi cs of conse nt . S pi k e ' s be hav i oral cont rol chi p pre v e nt s hi m f rom usi ng v i ol e nce
agai nst hum ans. H e suspe ct s t hat t he chi p wi l l not al l ow hi m t o at t ack t he
e x t re m e l y l i f e l i k e B uf f y bot : " You k now I can' t bi t e y ou. ” The B ot ' s re pl y i s m ost
i nst ruct i v e : " I t hi nk y ou can. I t hi nk y ou can i f I l e t y ou. A nd I want t o l e t y ou"
( “ Int e rv e nt i on, ” B 5018) . Thi s rai se s som e i nt ri gui ng que st i ons. H ow, e x act l y , doe s
S pi k e ' s chi p de f i ne " v i ol e nce ?" If S pi k e ' s " v i ct i m " conse nt s t o hi s " at t ack , " t he
chi p m i ght not act i v at e . In short , S pi k e ' s chi p m ay be capabl e of drawi ng e t hi cal
di st i nct i ons be t we e n e rot i c powe r e x change and se x ual v i ol e nce , base d upon t he
pri nci pl e of conse nt .
[ 23] The B uf f y bot al so prom ot e s i nt e re st i ng i nt e ract i ons be t we e n t he t e x t ual
and t he subt e x t ual . A f t e r S pi k e i s ne arl y k i l l e d by G l ory , B uf f y v i si t s hi m i n t he
gui se of t he B ot . " S pi k e ! " gushe s B uf f y - as- B ot . " You' re cov e re d i n se x y wounds! "
( “ Int e rv e nt i on, ” B 5018) Te x t ual l y , B uf f y i s t ry i ng t o asce rt ai n i f S pi k e has t ol d
G l ory about D awn. B ut be cause she i s pl ay i ng t he rol e of t he B ot , B uf f y i s abl e t o
e rot i ci ze S pi k e ' s wounds. Thi s bri ngs he r subt e x t ual k i nk y de si re f or S pi k e a bi t
cl ose r t o t he surf ace , and prov i de s i m port ant f ore shadowi ng f or S e ason S i x .
[ 24] In t he pi v ot al si x t h se ason, t he sadom asochi sm whi ch had be e n i m pl i ci t
i n t he B uf f y / S pi k e re l at i onshi p f rom t he be gi nni ng—and whi ch had be com e
i ncre asi ngl y e x pl i ci t i n S e ason F i v e —f i nal l y be com e s ov e rt . Thi s re pre se nt s a re al
t urni ng poi nt f or t he se ri e s. B y S e ason S i x , subt e x t ual re pre se nt at i ons of k i nk had
be e n f adi ng f or som e t i m e , i n f av or of i ncre asi ngl y ope n, hone st , t e x t ual
di scussi ons of e rot i c powe r. The t i m e had now com e f or t he t e x t ual t o e cl i pse t he
subt e x t ual com pl e t e l y . B ut be f ore t he show coul d e x pl i ci t l y e m brace e rot i c powe r,
i t woul d hav e t o com pl e t e and t ransce nd t he subt e x t ual re pre se nt at i on of t hat
powe r. Thi s woul d cl e ar t he way f or t he e x pl i ci t t e x t ual di scussi ons of e rot i c powe r
whi ch f orm t he t he m at i c core of S e ason S i x .
[ 25] The ast oni shi ng shi f t f rom t he subt e x t ual t o t he t e x t ual occurs i n t he
groundbre ak i ng m usi cal e pi sode , " O nce More , W i t h F e e l i ng" ( B 6007) . W ri t t e n and
di re ct e d by se ri e s cre at or J oss W he don, t hi s e pi sode ( l i k e so m any ot he rs) i s
conce rne d wi t h e x pre ssi ng t hose t hought s and f e e l i ngs whi ch cannot be art i cul at e d
i n spok e n l anguage . In t he m usi cal e pi sode , t he charact e rs m ust e x pre ss t he i r
10 of 27 9/8/07 12:15 PM
dark e st t rut hs, i ncl udi ng t he i r m ost si nce re de si re s—and t he y m ust do so i n song.
W he n t he y si ng, what had al way s be e n i m pl i ci t sudde nl y be com e s e x pl i ci t . The
e f f e ct i s onl y m om e nt ary , but t he conse que nce s are l ong l ast i ng. O nce a de si re i s
sung, i t be com e s av ai l abl e f or l at e r use at t he t e x t ual l e v e l . The songs of " O nce
More , W i t h F e e l i ng" t hus pe rm i t k i nk t o com e out of t he cl ose t i n subse que nt
S e ason S i x e pi sode s.
[ 26] " You k now, " S pi k e si ngs, " You' v e got a wi l l i ng sl av e " ( “ O nce More ,
W i t h F e e l i ng, ” B 6007) . H e re he f al l s t o hi s k ne e s, conf i rm i ng i n ge st ure what he
has just e x pre sse d i n song: t hat hi s de si re f or B uf f y has t ak e n t he f orm of a
powe rf ul subm i ssi v e m asochi sm . Pe rhaps S pi k e i s so de t e rm i ne d t o posi t i on
hi m se l f on t he bot t om of t hi s powe r re l at i onshi p be cause he unde rst ands how hard
i t i s f or B uf f y t o com e out about t he re ci procal sadom asochi st i c de si re whi ch she
ce rt ai nl y f e e l s. If he m ak e s hi m se l f i nt o t he sl av e , t he n B uf f y wi l l be com e t he
Mi st re ss, and powe r wi l l re si de ( f or t he m om e nt ) wi t h he r. B ut S pi k e ' s ope ni ng
posi t i on i s m ore com pl e x t han t hat , f or t he se are se ri ous ne got i at i ons. H e al so
chal l e nge s B uf f y ' s unwi l l i ngne ss t o com e out of t he cl ose t about he r k i nk . " A nd
y ou just l ov e t o pl ay t he t hought / That y ou m i ght m i sbe hav e . / B ut t i l l y ou do I' m
t e l l i ng y ou, / S t op v i si t i ng m y grav e ! / A nd l e t m e re st i n pe ace ! " S pi k e ' s song se nds
a v e ry cl e ar m e ssage : B uf f y has had pl e nt y of t i m e t o consi de r v ani l l a, t o
e x pe ri m e nt , t o pl ay at k i nk . B ut i t ' s t i m e t o grow up. If she i s se ri ous i n he r
de si re t o k now t he e rot i c si de of powe r—as S pi k e suspe ct s she i s—she ne e ds t o
consum m at e t he re l at i onshi p. If not , she ne e ds t o st op t e asi ng hi m . A s a
subm i ssi v e who i s be i ng court e d by a re l uct ant , i ne x pe ri e nce d dom i nant , S pi k e has
e v e ry ri ght t o pre se nt t he se t e rm s.
[ 27] The de ci si on t o pl ace hi m se l f i n t he subm i ssi v e post ure shows us
som e t hi ng i m port ant about S pi k e : conse nt m at t e rs t o hi m . Inde e d, as A m y - C hi nn
poi nt s out , " conse nt i s cri t i cal t o S pi k e i n t e rm s of hi s se x ual re l at i onshi ps" ( 323) .
R e cogni zi ng t hat B uf f y has com e as f ar as she can wi t hout act ual l y hav i ng k i nk y
se x wi t h hi m , S pi k e has cre at e d a si t uat i on i n whi ch B uf f y m ay e i t he r se e he r
de si re t hrough or t urn he r back on i t . It m i ght appe ar t hat S pi k e ' s de ci si on t o
f orce B uf f y ' s hand i s coe rci v e , but i n f act he i s onl y re v e al i ng t o he r t he choi ce
whi ch he r own de si re has al re ady f orce d upon he r: " k i nk s or v ani l l a" ( as F ai t h sai d
way back i n “ C onse que nce s, ” B 3015) , but f or re al t hi s t i m e , as a l i f e choi ce .
S pi k e ' s l y ri cs are al so ( not surpri si ngl y ) pe rf orm at i v e . H e i s not si m pl y pre se nt i ng
B uf f y wi t h a choi ce be t we e n t wo e rot i c sy st e m s and t wo di f f e re nt com m uni t i e s. B y
re qui ri ng he r conse nt be f ore he proce e ds, he i s al so m ode l i ng one of t hose
sy st e m s and one of t hose com m uni t i e s f or he r.
[ 28] It woul d be cl i ché ( but not wrong) t o i de nt i f y B uf f y ' s song as t he
cl i m ax of t he e pi sode . Pl uck e d f rom a pe ace f ul de at h by he r we l l - m e ani ng but
cl ue l e ss f ri e nds, B uf f y can f i nal l y si ng what she has so f ar onl y be e n abl e t o say
t o S pi k e : " I l i v e i n H e l l / ' C ause I' v e be e n e x pe l l e d/ F rom H e av e n/ I t hi nk I was i n
H e av e n/ S o gi v e m e som e t hi ng t o si ng about ! " B uf f y be gi ns t o shak e he r hi ps
se duct i v e l y . A s wi t h S pi k e , he r e rot i c ge st ure m at che s he r song. H e re B uf f y
be com e s uncharact e ri st i cal l y v ul ne rabl e , e v e n de spe rat e . " Pl e ase / G i v e m e
som e t hi ng. . . " she be gs.
[ 29] A t t hi s poi nt B uf f y , unde r t he spe l l of t he de m on S we e t , be gi ns danci ng
he rse l f t o de at h. S pi k e i nt e rv e ne s t o sav e he r. H e si ngs: " L i f e ' s not a song/ L i f e
i sn' t bl i ss/ L i f e i s just t hi s/ It ' s l i v i ng/ You' l l ge t al ong/ The pai n t hat y ou f e e l / You
onl y can he al / B y l i v i ng. " The ne got i at i ons are com pl e t e . S pi k e has of f e re d t o
t e ach B uf f y about e rot i c powe r. S he has acce pt e d, l arge l y out of t he rape ut i c ne e d,
t hough t hat wi l l change . S pi k e conf i rm s he r acce pt ance whi l e si m ul t ane ousl y
t ak i ng k i nk i nt o t he t e x t ual ( " L i f e ' s not a song" ) and out of t he cl ose t . The show
concl ude s wi t h one f i nal subt e x t ual conf i rm at i on of B uf f y and S pi k e ' s ne got i at i ons
11 of 27 9/8/07 12:15 PM
( " The curt ai ns cl ose on a k i ss, G od k nows. " ) B uf f y t he n m ov e s brav e l y i nt o t he

t e x t ual .
[ 30] O nl y an out bre ak of m agi cal am ne si a ( " Tabul a R asa, " B 6008) can k e e p
B uf f y and S pi k e f rom consum m at i ng t he i r e rot i c powe r re l at i onshi p i m m e di at e l y ;
t he y do so i n t he f ol l owi ng e pi sode , " S m ashe d" ( B 6009) . R honda W i l cox has not e d
t hat B uf f y and S pi k e do not act ual l y hav e se x unt i l t he y k now t hat he can hurt he r
( " Ev e ry Ni ght I S av e You" 17) . Te rry S pai se has i de nt i f i e d t hi s m om e nt as
m ark i ng a " shi f t i n t he powe r paradi gm " of t he B uf f y / S pi k e re l at i onshi p, si nce
B uf f y he l d t he dom i nant posi t i on i n t he re l at i onshi p pri or t o " S m ashe d" ( B 6009)
( 752) . H owe v e r, i t i s i m port ant t o be cl e ar about t he nat ure of t hi s shi f t . S om e
cri t i cs hav e m i st ak e nl y re ad t hi s change as a re t urn t o pol i t i cal l y probl e m at i c
powe r re l at i ons. D awn H e i ne ck e n t ak e s i t as e v i de nce t hat " m e n ne e d t o be
v i ol e nt and abl e t o dom i nat e t he i r wom e n" ( 22) . " W he n di d i t be com e ok ay t o hi t
a wom an and t he n hav e se x ?" de m ands R ache l Thom pson. The answe r, of course ,
i s: whe n she conse nt s. In f act , B uf f y i ni t i at e s v i ol e nt se x wi t h S pi k e , and
part i ci pat e s e nt husi ast i cal l y .
[ 31] W hat has re al l y happe ne d i n " S m ashe d" ( B 6009) i s t hat B uf f y and
S pi k e hav e m ov e d f rom a si t uat i on i n whi ch B uf f y had al l t he powe r i nt o a
si t uat i on of e qual i t y . The probl e m l ay not wi t h B uf f y ' s v ul ne rabi l i t y but wi t h
S pi k e ' s. B y gi v i ng B uf f y al l t he powe r, he had pl ace d hi m se l f i n a v e ry de l i cat e
si t uat i on. H e coul d onl y f e e l se cure e nough t o pursue a se ri ous S / M re l at i onshi p i f
t he powe r be t we e n t he m we re e qual i ze d. It i s i m port ant t o re m e m be r he re t hat
S pi k e i s a swi t ch—and an accom pl i she d one , as A m y - C hi nn has obse rv e d ( 316) .
S pi k e t hus re f l e ct s t he basi c e rot i c ori e nt at i on of t he B uf f y v e rse . H e re pre se nt s a
prof oundl y e gal i t ari an se x ual i t y i n whi ch dom i nant and subm i ssi v e re l at i ons are
al way s re v e rsi bl e .
[ 32] In " S m ashe d" ( B 6009) , B uf f y e m brace s t hi s se x ual i t y , and he r
de spe rat e gam bl e pay s of f handsom e l y . B uf f y ' s af f ai r wi t h S pi k e re pre se nt s he r
at t e m pt t o se i ze cont rol of t he pai n, t o m ol d i t , t o f i nd a posi t i v e way i n whi ch
she m i ght e x pre ss i t . H e r ul t i m at e goal i s t o f i nd he r way back i nt o t he worl d.
Te rry S pai se has poi nt e d out t hat t he S / M gam e s B uf f y pl ay s wi t h S pi k e are a k i nd
of " t he rape ut i c e x e rci se " whi ch " const i t ut e d a ne ce ssary e l e m e nt of B uf f y ' s
e m ot i onal re st orat i on and abi l i t y t o re - e m brace l i f e " ( 761) . L i k e m any re al worl d
k i nk st e rs who hav e suf f e re d abuse or ot he r t raum a, B uf f y use s k i nk as a way t o
he al . F or B uf f y , whose se cond de at h was he roi c and be aut i f ul , t he t raum a l i e s not
i n dy i ng but i n com i ng back . K i nk gi v e s he r a way t o re t urn t o he av e n f or a ni ght ,
whi l e st i l l re m ai ni ng i n t hi s worl d. A s such, i t cl e arl y se rv e s a v i t al psy chol ogi cal
rol e f or B uf f y . B ut S pai se ' s anal y si s, whi l e conv i nci ng, re l i e s upon a m e di cal i ze d
conce pt of S / M. A s such, t hi s anal y si s doe s not account f or t he possi bi l i t y t hat
B uf f y and S pi k e pract i ce S / M not onl y f or t he rape ut i c purpose s but al so be cause
t he y e njoy i t and f i nd i t sat i sf y i ng.
[ 33] S pi k e re v e l s i n hi s ne wf ound k nowl e dge of B uf f y . " I k now whe re y ou
l i v e now, S l ay e r. I' v e t ast e d i t " ( “ W re ck e d, ” B 6010) . B uf f y has a harde r t i m e
de al i ng wi t h he r ne w k i nk y se l f . S he f i nds i t e asi e r t o hav e se x wi t h S pi k e i f she ' s
i nv i si bl e ( “ G one , ” B 6011) , and she can' t bri ng he rse l f t o t e l l he r f ri e nds about he r
ne wf ound se x ual i de nt i t y . B ut B uf f y soon be com e s m ore com f ort abl e wi t h S pi k e .
" You we re am azi ng, " whi spe rs S pi k e , af t e r a sce ne whi ch " hurt i n al l t he wrong
pl ace s" and l e f t bi t e m ark s. " You got t he job done y ourse l f , " B uf f y say s sof t l y
( “ D e ad Thi ngs, ” B 6013) . S t i l l , B uf f y can' t acce pt who and what she has be com e .
F e ari ng t hat she re t urne d f rom t he grav e " wrong, " she has Tara che ck t he
re surre ct i on spe l l whi ch brought he r back . W he n Tara assure s he r t hat not hi ng' s
wrong wi t h he r, B uf f y cri e s " t he re has t o be ! Thi s just can' t be m e , i t i sn' t m e "
( B 6013) . H e re B uf f y f i nal l y conf ront s t he pai nf ul f act t hat he r se x ual i t y i s
12 of 27 9/8/07 12:15 PM
radi cal l y O t he r—or, i n t he he t e ronorm at i v e l anguage of t he dom i nant cul t ure , t hat
t he re i s som e t hi ng wrong wi t h he r. In t hi s cont e x t i t i s pe rhaps si gni f i cant t hat
B uf f y f i rst com e s out t o Tara, one of t he program ' s e x pl i ci t l y que e r charact e rs.
B uf f y i s abl e t o com e out t o Tara be cause she k nows t hat Tara i s l i k e l y t o
sy m pat hi ze wi t h he r pre di cam e nt .
[ 34] The B uf f y / S pi k e re l at i onshi p cont i nue s t o grow m ore i nt e nse . " H e ' s not
ge t t i ng any ge nt l e r, " B uf f y obse rv e s ( “ A s You W e re , ” B 6015) . B uf f y t ri e s t o e nd
t he re l at i onshi p ( B 6015) , but S pi k e has a hard t i m e acce pt i ng t hat de ci si on. H e
be com e s i ncre asi ngl y unst abl e and obse ssi v e . In t he hi ghl y di st urbi ng e pi sode
" S e e i ng R e d" ( B 6019) , S pi k e e x pre sse s hi s obse ssi on: " G re at l ov e i s wi l d and
passi onat e and dange rous. It burns and consum e s. " Inde e d i t doe s, f or t hi s
e pi sode cul m i nat e s i n S pi k e ' s at t e m pt t o rape B uf f y . W hat i s m ost st ri k i ng about
t hi s sce ne i s how prof oundl y di f f e re nt i t i s f rom B uf f y and S pi k e ' s i ni t i al se x sce ne
i n " S m ashe d" ( B 6009) , and f rom al l t he i r subse que nt conse nsual sce ne s. Those
sce ne s we re f i l m e d e rot i cal l y , wi t h appropri at e m usi c and l ow l i ght i ng. B y way of
cont rast , t he rape sce ne i n " S e e i ng R e d" i s l i t wi t h pai nf ul bri l l i ance ( W i l cox , W hy
B uf f y Mat t e rs 35) , and e x e cut i v e produce r Mart i Nox on de ci de d t o use no m usi c i n
i t at al l be cause , as scri pt wri t e r S t e v e n S . D e K ni ght say s, " we want e d i t not t o
hav e any f ant asy e l e m e nt , t o be nast y and v i ol e nt " ( qt d. i n K av e ne y , " W ri t i ng t he
V am pi re S l ay e r" 127) . C e rt ai nl y t he re sul t i s v e ry unse t t l i ng. S pi k e ' s at t e m pt e d
rape i s an e gre gi ous v i ol at i on of B uf f y , and t he de ci si on by t he show' s produce rs
t o i ncl ude i t m i ght appe ar t o be an e qual l y e gre gi ous v i ol at i on of t he cari ng and
conse nsual S / M re l at i onshi p whi ch B uf f y and S pi k e had be e n on t he v e rge of
de v e l opi ng. B ut a m ore chari t abl e re adi ng i s possi bl e : f ri ght e ne d by t he de af e ni ng
che e rs of t he f an com m uni t y as B uf f y and S pi k e cam e out of t he cl ose t i n t he
course of S e ason S i x , B uf f y ' s wri t e rs re t re at e d once m ore t o t he subt e x t ual .
S pi k e ' s at t e m pt e d rape i s one of t he m ost cl e arl y wrong t hi ngs t hat happe ns on
t he e nt i re program . B y f i l m i ng i t i n such a uni que l y di sconce rt i ng way , B uf f y ' s
cre at ors we re abl e t o show, di scre e t l y , t hat what B uf f y and S pi k e had done be f ore
was not wrong. F urt he rm ore , t he he av y subt e x t ual di st i nct i on be t we e n t hi s rape
and t he pre v i ous sce ne s of e rot i c powe r e x change draws at t e nt i on t o t he m ajor
di f f e re nce be t we e n t he t wo: conse nt . W he n S pi k e i gnore s B uf f y ' s " saf e word, "
pl ay be com e s rape . B y hi ghl i ght i ng t he v i t al di st i nct i on be t we e n t he t wo, " S e e i ng
R e d' s" subt e x t ual cue s act ual l y e ndorse t he e t hi cal v al ue s of t he B D S M
com m uni t y .
[ 35] It i s al so v i t al t o re m e m be r t hat al t hough " S e e i ng R e d" ( B 6019) m ark s
t he e nd of S pi k e and B uf f y ' s se x ual re l at i onshi p, i t i s by no m e ans t he e nd of
t he i r e rot i c re l at i onshi p. The rape was e m pt y of e t hi cs and e rot i cs, and S pi k e
k nows i t . H e i s so di sm ay e d by what he has done t hat he goe s t o A f ri ca and
t ort ure s a soul i nt o hi m se l f . H e re t urns i n S e ason S e v e n a ne w m an, but som e
t hi ngs hav e n’ t change d. S pi k e ' s st i l l al l about t he pai n. H e has a soul agai n, and
" al l i t doe s i s burn" ( “ B e ne at h You, ” B 7002) . A nd of course , he st i l l l i k e s t o se e
B uf f y on t op. " Mak e i t t i ght e r, " he say s whe n B uf f y , who f e ars he m i ght be k i l l i ng
agai n, bi nds hi m t o a chai r ( “ Ne v e r L e av e Me , ” B 7009) . B ut what ' s re al l y
i nt e re st i ng i s t he way t hat B uf f y t re at s S pi k e whe n she has hi m chai ne d up i n he r
base m e nt . B uf f y care s f or S pi k e , ge nt l y washi ng t he bl ood f rom hi s wounde d f ace .
B uf f y i s v e ry m uch t he l ov i ng Mi st re ss he re . S pi k e ' s at t e m pt e d rape was
prof oundl y wrong, but he has done e v e ry t hi ng i n hi s powe r t o m ak e am e nds, and
B uf f y has be gun t o f orgi v e hi m . S he k nows t hat he i s not re sponsi bl e f or hi s
curre nt v i ol e nce , si nce he ' s be i ng cont rol l e d by t he F i rst . A nd so she can be t e nde r
wi t h hi m , e v e n i nt i m at e .
[ 36] Thi s ne w i nt i m acy cul m i nat e s i n t he re m ark abl e l ov e sce ne i n
" Touche d" ( B 7020) . The ni ght be f ore an apocal y pse i s t radi t i onal l y a v e ry e rot i c
13 of 27 9/8/07 12:15 PM
t i m e i n t he B uf f y v e rse , but t hi s be aut i f ul m ont age of i nt e rcut se x sce ne s t ak e s

t hat t radi t i on t o ne w he i ght s. F ai t h and R obi n W ood hav e st e am y i nt e rraci al se x ,
whi l e W i l l ow and K e nne dy hav e pi e rce d- t ongue l e sbi an se x : t he sce ne i s
re l e nt l e ssl y que e r. A nd what are B uf f y and S pi k e doi ng whi l e al l t hi s i s goi ng on?
S he i s sl e e pi ng pe ace f ul l y , f ul l y cl ot he d, i n hi s arm s. The B uf f y / S pi k e sce ne i s not
at al l se x ual , but i t i s st unni ngl y e rot i c. Inde e d, i t has t he f e e l i ng of t he t i m e
be y ond t he sce ne , t he " af t e r care " t i m e . B uf f y f e e l s saf e wi t h S pi k e once agai n.
J ust as she care d f or hi m i n t he base m e nt , he spe nds t he ni ght l ook i ng af t e r he r.
The ne x t day , S pi k e cal l s t hi s t he be st ni ght of hi s l i f e , and whe n he ask s B uf f y i f
she was t he re wi t h hi m , she assure s hi m t hat she was, and spe ak s of t he st re ngt h
he gav e he r ( “ End of D ay s, ” B 7021) . The i r e ncount e rs t hroughout t he bri e f
re m ai nde r of t he se ri e s re m ai n t e nde r and re spe ct f ul . I m ust t he re f ore chal l e nge
J ust i ne L arbal e st i e r' s cl ai m t hat B uf f y and S pi k e ' s re l at i onshi p " can' t work , " and
t hat B uf f y ' s ni ght of hav i ng S pi k e hol d he r i s si m pl y " m asochi st i c" ( i n, one
pre sum e s, a bad way ) ( 216- 17) . The re l at i onshi p doe s work . It gi v e s t he m bot h
what t he y ne e d. W hat B uf f y ne e de d be f ore goi ng of f t o sav e t he worl d was a ni ght
whe n she coul d be v ul ne rabl e , subm i ssi v e , and saf e . S pi k e ne e de d t o be cari ng,
prot e ct i v e , ge nt l y dom i nant . S o t he y di d what t he y ' v e al way s done . The y swi t che d
i nt o t he ne ce ssary conf i gurat i ons and sat i sf i e d t he i r m ut ual e rot i c ne e ds. The f act
t hat t he re i s no se x he re i s i rre l e v ant . The re i s powe r and t he re i s l ov e .
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to th e View er!": Represen tation s of Erotic P ow er becom e
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" T ha t 's Why O ur K ind Ma k e Suc h Go o d Do llie s " : V a m p ir e K ink in t he

B uffy ve r s e
[ 37] V i v i e n B urr has argue d t hat :
v am pi re re l at i onshi ps are sadi st i c and e x pl i ci t l y S M, wi t h v i ol e nce as a
se x ual appe t i ze r. B ut t hi s se x ual i t y i s not re al l y be i ng of f e re d t o us as a
v i abl e choi ce ; i t i s som e t hi ng onl y ( bad) v am pi re s do. The port ray al of
v am pi re se x ual i t y i s t he re f ore a cov e rt conf i rm at i on of t radi t i onal se x ual
i de al s and m ore s. ( " A m bi gui t y and S e x ual i t y " 351)
B ut t hi s re adi ng i s m i st ak e n, i n m uch t he sam e way t hat B uf f y i s m i st ak e n whe n
she assum e s one cannot l ov e wi t hout a soul . " O h, we can, y ou k now, " D rusi l l a
assure s he r. " W e can l ov e qui t e we l l . If not wi se l y " ( “ C rush, ” B 5014) . D ru m ay be
crazy , but she al so happe ns t o be qui t e hone st about m at t e rs of l ov e and powe r.
J e nni f e r S t oy corre ct l y de scri be s D arl a, A nge l us, S pi k e and D rusi l l a as " a
com pe l l i ng v i si on of just how pe rv e rse a l ov i ng f am i l y can be " ( 226) . I woul d onl y
add t hat t he se v am pi re s al so show us how l ov i ng a pe rv e rse f am i l y can be . In t he
B uf f y v e rse , v am pi re pl ay i s hi ghl y e rot i c, and f re que nt l y occurs wi t hi n t he
f ram e work of com passi onat e , cari ng powe r re l at i ons, som e of whi ch l ast f or
ce nt uri e s.
[ 38] D arl a and A nge l us, f or e x am pl e , pl ay e d m i nd gam e s f or ov e r a ce nt ury
( “ The Tri al , ” A 2009) . S ure , he k i l l e d he r, but she ' s ov e r t hat ( “ F i rst Im pre ssi ons, ”
A 2003) . In t he B uf f y v e rse , de at h i s f orgi v abl e and f re que nt l y e rot i c; t hus, t he
re surre ct e d hum an D arl a be gs A nge l f or t he bi t e ( “ D arl a, ” A 2007, “ The Tri al , ”
A 2009) . A t t he t e x t ual l e v e l , D arl a doe s t hi s be cause she i s dy i ng of sy phi l i s, but
D arl a de si re s m ore t han m e re e t e rnal l i f e . W hy e l se woul d she t i e A nge l down and
14 of 27 9/8/07 12:15 PM
m ak e hi m wat ch whi l e she nurse s bl ood f rom D rusi l l a ( A 2009) ? A ppare nt l y t hi s has
t he de si re d e f f e ct on A nge l , who be at s D arl a se nse l e ss be f ore hav i ng se x wi t h he r
i n " R e pri se " ( A 2015) . The i m m e di at e t e x t cal l s t hi s A nge l ' s m oral l ow poi nt , but
t he l ong- t e rm t e x t say s ot he rwi se . Ye s, t he i r se x was v i ol e nt , but t he y bot h
want e d i t , and t hi s act i ni t i at e s D arl a' s m i racul ous pre gnancy . D arl a st ak e s he rse l f
so t hat he r chi l d can be born ( “ L ul l aby , ” A 3009) . A nge l nam e s t he boy C onnor and
l ov e s hi m t hrough t he re m ai nde r of t he se ri e s. D arl a and A nge l share a pe rv e rse
l ov e , t o be sure , but i t i s a k i nd of l ov e none t he l e ss.
[ 39] D arl a and A nge l pl ay hard. In ge ne ral , v am pi re s pl ay m uch harde r t han
hum ans. S i nce t he y ' re pract i cal l y i nde st ruct i bl e , pl ay whi ch woul d be e dgy or
i m possi bl e f or hum ans i s st andard f or v am pi re s. V am pi re s l i k e t o dri nk e ach
ot he r' s bl ood ( “ Unt ouche d, ” A 2004) . The m ore e x ot i c ( and e x ci t i ng) f orm s of
v am pi re pl ay i nv ol v e t hose f e w t hi ngs whi ch can k i l l v am pi re s. V am pi re s are f ond
of hol y wat e r pl ay , f or e x am pl e ( “ R e uni on , ” B 2010) : i n sm al l dose s, hol y wat e r
i s e x t re m e l y pai nf ul wi t hout be i ng l e t hal . The y al so e njoy sunl i ght pl ay
( “ D e st i ny , ” A 5008; an e l e gant but non- conse nsual e x am pl e can be se e n i n “ In t he
D ark , ” A 1003) . You can e v e n st ak e a v am pi re , as l ong as she ' s we ari ng t he G e m
of A m arra whe n y ou do i t ( “ The H arsh L i ght of D ay , ” B 4003) . B ut t he m ost pot e nt
f orm of v am pi re pl ay i nv ol v e s t hat t hi ng whi ch i s m ost de adl y t o v am pi re s: a
S l ay e r. S pi k e and D rusi l l a show us t hat " t he bl ood of a S l ay e r i s a powe rf ul
aphrodi si ac" ( “ F ool f or L ov e , ” B 5007) . S ure l y S l ay e r bl ood i s so e x ci t i ng be cause
ge t t i ng i t i s so dange rous. A s wi t h hum an k i nk , v am pi re k i nk de ri v e s m uch of i t s
e x ci t e m e nt f rom t he e l e m e nt of ri sk . S i nce v am pi re s i n t he B uf f y v e rse hav e be e n
k nown t o com e back t o l i f e af t e r be i ng st ak e d or i m m ol at e d i n a pi l l ar of f i re , t he
l e v e l of acce pt abl e ri sk i s re m ark abl y hi gh.
[ 40] B ut v am ps are n' t just about t he pl ay . The e rot i c e x change of powe r i s
e qual l y i m port ant t o t he m . A f t e r D ru dum ps S pi k e , he re t urns t o S unny dal e , whe re
he has a bi t of an e pi phany and de ci de s t o " f i nd he r, whe re v e r she i s, t i e he r up,
t ort ure he r unt i l she l i k e s m e agai n. L ov e ' s a f unny t hi ng" ( “ L ov e rs W al k , ”
B 3008) . H e re ' s t he re al l y f unny part : t hi s i s a pe rf e ct l y se nsi bl e way t o ne got i at e
wi t h a crazy sadom asochi st i c v am pi re . W he n D rusi l l a re t urns i n " C rush" ( B 5014) ,
she once agai n act s as S pi k e ' s Mi st re ss. S he t e l l s hi m he can ov e rcom e hi s chi p.
W he n he com pl ai ns about t he se ari ng pai n, she t e l l s hi m i t ' s al l i n hi s he ad: " It
t e l l s y ou y ou' re not a bad dog, but y ou are . " S pi k e can t ak e t he pai n f or Mi st re ss.
The onl y probl e m i s, he ' s t ak i ng pai n f or a ne w Mi st re ss now: B uf f y .
[ 41] A l l of t he B uf f y v e rse ' s v am pi re re l at i onshi ps e m phasi ze powe r, but
none do so m ore e f f e ct i v e l y t han S pi k e / A nge l . R oz K av e ne y has corre ct l y not e d
t hat " t he hom oe rot i ci sm t hat m any f ans hav e al way s se e n i n t he re l at i onshi p…i s at
t he v e ry l e ast cl ose l y re l at e d t o…[ t he ] powe r dy nam i c be t we e n t he m " ( " A S e nse
of t he Endi ng" 63) . A nd S pi k e ask s, " how’ s t hat f or a pe rv e rsi on?" ( “ In t he D ark , ”
A 1003. In t he t e x t , S pi k e i s spe ak i ng about A nge l ' s l ov e f or B uf f y ; i n t he subt e x t ,
S pi k e and anot he r m al e v am pi re are pre pari ng t o t ort ure A nge l ' s bound body . )
S e ason F i v e of A nge l re v e al s t o us t he de e p hi st ory of S pi k e / A nge l , and t hus
m ak e s t e x t ual t he l ongst andi ng subt e x t ual powe r dy nam i c be t we e n t he m . The y
be gan as W i l l i am / A nge l us. Upon m e e t i ng W i l l i am ( f re shl y si re d by D rusi l l a) ,
A nge l us i m m e di at e l y t hrust s W i l l i am ' s arm i nt o t he sunl i ght ( “ D e st i ny , ” A 5008) .
A s he hol ds hi s own arm i nt o t he se ari ng sunl i ght , A nge l us adm i t s t hat l at e l y he
has be gun t o wonde r what i t woul d be l i k e " t o share t he sl aught e r of i nnoce nt s
wi t h anot he r m an. D on' t t hi nk t hat m ak e s m e som e k i nd of a de v i ant , hm m ? D o
y ou?" C l e arl y W i l l i am doe s not , f or he t hrust s hi s own arm i nt o t he agoni zi ng l i ght
once m ore , i n prope r m asochi st i c f ashi on. The se di re ct , phy si cal ne got i at i ons
e st abl i sh t hi s re l at i onshi p as one of conse nsual powe r e x change f rom t he
be gi nni ng. H ow i nt i m at e i s t hat re l at i onshi p? W e l l , t he re was t hat one . . . ( “ Powe r
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Pl ay , ” A 5021) . B ut agai n, i t ' s not about se x , i t ' s about powe r. Today S pi k e and
A nge l are bot h nom i nal l y st rai ght ( i n a que e r, i de nt i cal al l - bl ack wardrobe k i nd of
way ) . A nd y e t t he y f al l al l ov e r t he m se l v e s t o se e who ge t s t o dri nk f rom t he cup
of pe rpe t ual t orm e nt ( “ D e st i ny , ” A 5008) . S ure , t he y say i t ' s al l about t he
prophe cy , but t hat ' s just a l ot of S hanshu: i t ' s cl e arl y a f orm of pl ay . " H e re we
are , t he n, " S pi k e say s wi t h m asochi st i c gl e e . " Two v am pi re he roe s, com pe t i ng t o
we t our whi st l e wi t h a dri nk of l i ght , re f re shi ng t orm e nt . " A nd e v e n i f S pi k e and
A nge l don' t pl ay l i k e t he y use d t o, t he y can st i l l k e e p e ach ot he r com pany as t he y
dash of f t o It al y i n pursui t of t he i r m ut ual S l ay e r f e t i sh ( “ The G i rl i n Q ue st i on, ”
A 5020) . B y t he e nd of A nge l , S pi k e and A nge l can al m ost be hone st about what
t he y are : t wo l ongst andi ng m e m be rs of a k i nk y v am pi re com m uni t y who hav e
al way s share d powe r and pai n and who, de spi t e t he i r const ant t e x t ual sni pi ng,
cl e arl y ne e d e ach ot he r and cl e arl y sat i sf y one anot he r' s m ut ual e rot i c ne e ds.
" Pe r ve r t !/ O t he r Pe r ve r t !" : Hum a n K ink in t he B uffy ve r s e

[ 42] The e x pl i ci t k i nk i ne ss of t he B uf f y v e rse ' s v am pi re com m uni t y shoul d not
di st ract us f rom t he f act t hat e v e ry one i n t he B uf f y v e rse i s k i nk y . K i nk cannot
re m ai n saf e l y cont ai ne d wi t hi n t he " v am pi re ghe t t o. " Nor i s i t t he sol e prov i nce of
S l ay e rs, who at l e ast hav e t he e x cuse t hat t he y m ust de v e l op i nt i m at e re l at i ons
wi t h de at h i f t he y are t o do t he i r job prope rl y . In t he B uf f y v e rse , " norm al "
hum ans are e v e ry bi t as k i nk y as v am pi re s and de m oni cal l y powe re d S l ay e rs.
S i nce t he i r powe r re l at i ons are const rai ne d by t he i r re l at i v e phy si cal f ragi l i t y ,
hum an e x pre ssi ons of k i nk are of t e n l e ss dram at i c t han t hose of v am pi re s or
S l ay e rs. Ye t al l of t he se powe r re l at i ons hav e one cruci al t hi ng i n com m on: i n t he
B uf f y v e rse , hum an re l at i ons of e rot i c powe r, l i k e t he i r v am pi re and S l ay e r
count e rpart s, are consi st e nt l y port ray e d as conse nsual , cari ng and com passi onat e .
The B uf f y v e rse t hus pre se nt s e rot i c powe r e x change not si m pl y as an i nt e re st i ng
i l l i ci t pe rv e rsi on of t he i nhum an and t he supe rhum an, but as a re al i st i c e t hi cal and
e rot i c opt i on f or act ual hum an be i ngs. S i nce t he se are pre ci se l y t he sort s of
pe opl e who m ak e up t he k i nk - f ri e ndl y audi e nce of B uf f y and A nge l , t hi s m ay t urn
out t o be t he B uf f y v e rse ' s m ost radi cal m ov e .
[ 43] " W hy coul dn' t G i l e s hav e shack l e s l i k e any se l f re spe ct i ng bache l or?"
wonde rs X ande r ( “ L i v i ng C ondi t i ons, ” B 4002) . G i l e s m ay not hav e shack l e s, but he
and J oy ce don' t he si t at e t o use handcuf f s on t op of a cop car ( t wi ce ! ) —and i t ' s not
just t he band candy , be cause t he band candy doe sn' t m ak e any body do any t hi ng
t hat t he y we re n' t al re ady t hi nk i ng about doi ng. " Ne v e r t e l l m e , " B uf f y t e l l s
J oy ce —t he one t hi ng harde r t han com i ng out t o y our pare nt s i s f aci ng t he
possi bi l i t y t hat y our pare nt s m i ght com e out t o y ou ( “ B and C andy , ” B 3006) .
[ 44] B e si de s, X ande r' s a f i ne one t o t al k . H i s casual dat i ng part ne rs i ncl ude
a gi ant pray i ng m ant i s, an Inca m um m y gi rl , F ai t h ( ! ) , and an e v i l sorce re ss who
t ri e s t o sacri f i ce hi m t o ope n t he se al of D ant hazar. The e rot i c i nt e re st s of t he se
gi rl s can hardl y be cal l e d v ani l l a; i n f act , t he f ul l consum m at i on of any of t he se
l i ai sons woul d hav e re sul t e d i n X ande r' s unt i m e l y de at h. X ande r' s se ri ous dat i ng
choi ce s are onl y sl i ght l y m ore saf e and sane ; t he y di f f e r f rom hi s casual dat e s
m ai nl y i n t hat t he y are conse nsual . The re ' s C orde l i a. H e r e rot i c re l at i onshi p wi t h
X ande r i s base d i ni t i al l y upon t he i r m ut ual di sl i k e . Pl us, as C orde l i a not e s, " we
k e pt be i ng put i n t he se l i f e or de at h si t uat i ons, and t hat ' s al way s al l se x y and
st uf f " ( “ D oppe l gängl and, ” B 3016) . It t urns out t hat ordi nary hum ans f i nd de at h
e rot i cal l y e x ci t i ng t oo. S m al l wonde r t hat C orde l i a consi de rs dre ssi ng up l i k e a
S l ay e r and put t i ng a st ak e t o X ande r' s t hroat ( “ F ai t h, H ope , and Tri ck , ” B 3003) .
( X ande r: " Pl e ase , G od, don' t l e t t hat be sarcasm . " )
[ 45] A nd t he n t he re ' s A ny a. A ny a i s t he l ov e of X ande r' s l i f e ; hi s e rot i c
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re l at i onshi p wi t h he r i s by f ar hi s m ost se ri ous. A ny a al so happe ns t o be ope nl y ,

out rage ousl y , unapol oge t i cal l y k i nk y . Est he r S ax e y i s qui t e ri ght t o argue t hat
" t he onl y coupl e t o e ngage i n k i nk unprobl e m at i cal l y are X ande r and A ny a, and
si gni f i cant l y t hi s i s i n t he m ost e nt i re l y com m i t t e d coupl e re l at i onshi p t he show
of f e rs" ( 206) . W e k now t hat X ande r and A ny a hav e e njoy e d spank i ng ( “ The I i n
Te am , ” B 4013) , and she ' s be e n k nown t o bi t e hi s ass ( “ S l e e pe r, ” B 7008) . W e
assum e t hat he k nows about " t y i ng som e one up f or se x y , f unk y f un" ( “ F i rst D at e , ”
B 7014) f rom hi s t i m e wi t h A ny a, and whe n he and A ny a hav e t he i r " l ast " se x , t he y
bot h t hi nk " i t ' s t oo bad B uf f y t ook S pi k e ' s chai ns down" ( “ S t ory t e l l e r, ” B 7016) .
B ut t hat ' s al l just pl ay . X ande r and A ny a are se ri ous. A f t e r J oy ce ' s de at h—a v e ry
se ri ous, v e ry re al de at h, not t he t e m porary k i nd y ou usual l y f i nd i n t he
B uf f y v e rse —A ny a ge t s phi l osophi cal about de at h and se x . " S he got m e t hi nk i ng,
about how pe opl e di e al l t he t i m e and how t he y ge t born t oo and how y ou k i nda
ne e d one so t hat y ou can hav e t he ot he r. A nd whe n I t hi nk about i t t hat way i t
m ak e s de at h a l i t t l e l e ss sad, se x a l i t t l e m ore e x ci t i ng" ( “ F ore v e r, ” B 5017) .
C orde l i a m ay hav e f ound t he t hre at of de at h t i t i l l at i ng, but A ny a re al l y ge t s t he
se x / de at h conne ct i on.
[ 46] A ny a i s one of t he program ' s m ost re l i abl y hone st charact e rs. H e r
re l at i onshi p wi t h X ande r f e at ure s an ast oni shi ng am ount of ope n, di re ct
ne got i at i on. Thi s i s part l y due t o t he f act t hat A ny a i s " ne wl y hum an and st range l y
l i t e ral " ( “ Int o t he W oods, B 5010) . A s a re sul t , she say s what she want s, i n no
unce rt ai n t e rm s, f rom t he be gi nni ng: " S e x ual i nt e rcourse . I' v e sai d i t l i k e a doze n
t i m e s" ( “ The H arsh L i ght of D ay , ” B 4003) . X ande r, who has be e n badl y use d by
wom e n ( and de m ons) who do not ack nowl e dge t he i m port ance of ne got i at i on, f i nds
t hi s oddl y re f re shi ng. " A nd t he am azi ng t hi ng. . . st i l l m ore rom ant i c t han F ai t h"
( B 4003) . Ye s, she ' s rom ant i c, and re source f ul , t oo. W he n t he G e nt l e m e n re nde r
S unny dal e spe e chl e ss i n " H ush" ( B 4010) , A ny a and X ande r com m uni cat e m ore
e f f e ct i v e l y t han m ost of t he S coobi e s. W he n X ande r t hi nk s S pi k e has at t ack e d
A ny a, he be at s t he v am pi re si l l y . X ande r di scov e rs t hat hi s l ov e r i s O K , and t he
t wo k i ss passi onat e l y . D e l i ght e d t o se e how m uch he care s about he r, A ny a m ak e s
a ci rcl e wi t h he r t hum b and f ore f i nge r and t hrust s t he i nde x f i nge r of he r opposi t e
hand i n and out of t he ci rcl e re pe at e dl y . H e r l ack of subt l e t y di sgust s t he ot he r
S coobi e s, but i t ' s t he ri ght m ov e f or t he ci rcum st ance s. The i r ne got i at i ons
com pl e t e , A ny a and X ande r m ov e t o of f - scre e n bl i ss, and t he i r re l at i onshi p
adv ance s. Though i t m ay be t aboo i n v ani l l a ci rcl e s, A ny a' s bl unt hone st y t e ache s
X ande r how t o ne got i at e . The t wo m ay bri ng e ach ot he r pl e nt y of pai n, but t he y
do i t conse nsual l y . A nd e v e n t hough X ande r e v e nt ual l y l e av e s he r at t he al t ar, he
l ov e s he r t o t he e nd of he r l i f e and be y ond. L i k e B uf f y / S pi k e , t he X ande r/ A ny a
re l at i onshi p " e nds" i n a f orm al t e x t ual se nse i n S e ason S i x , but re m ai ns e rot i c,
and spe ci f i cal l y k i nk y , t hrough S e ason S e v e n. X ande r and A ny a pl ay " good
cop/ bad cop" whe n t he y i nt e rrogat e A ndre w ( “ Ne v e r L e av e Me , ” B 7009) —a sce ne
of pot e nt i al l y st e ri l e " pol i t i cal " t ort ure , e x ce pt f or t he f act t hat A ndre w i s i n m any
way s a wi l l i ng part i ci pant ( A ndre w l at e r cal l s A ny a " t he pe rf e ct wom an, " “ End of
D ay s, ” B 7021) . A ny a de v e l ops a t ast e f or m ul t i - part ne r sce ne s; short l y af t e r t he
ori gi nal i nt e rrogat i on, she and D awn ( ! ) co- t op A ndre w ( “ B ri ng on t he Ni ght , ”
B 7010) . X ande r and A ny a m ay hav e " brok e n up" i n v ani l l a t e rm s, but t he i r S e ason
S e v e n re l at i onshi p has t he st ruct ure of m any com m i t t e d k i nk re l at i onshi ps:
se x ual l y , t he y are basi cal l y m onogam ous, t hough t he y do pl ay wi t h ot he rs.
[ 47] Me anwhi l e on A nge l , W e sl e y W y ndam - Pry ce i s showi ng us t hat e rot i c
powe r i sn' t just f or X ande r. O n B uf f y he was i nsuf f e rabl y e f f e t e , but on A nge l he ' s
a whol e ne w W e sl e y . W e ' v e k nown si nce “ O v e r t he R ai nbow” ( A 2020) t hat W e sl e y
has handcuf f s he doe sn' t want t o t e l l any one about . B ut i t ' s D ark W e sl e y who
com e s out of t he cl ose t . A t t he e nd of S e ason Thre e , D ark W e s t ak e s up wi t h L i l ah
Morgan, t he se duct i v e e v i l at t orne y . L i l ah i s unsurpri si ngl y k i nk y . L i k e m any
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prof e ssi onal s, she swi t che s he r t oppy prof e ssi onal pe rsona f or a subm i ssi v e one i n
t he be droom . S he se duce s W e s by ask i ng hi m what i t was l i k e whe n J ust i ne cut hi s
t hroat . B y way of re pl y , W e s grabs L i l ah' s t hroat . " You t e rri bl y anx i ous t o f i nd
out ?" ( “ Tom orrow, ” A 3022) . The punchl i ne i s t hat y e s, she i s anx i ous t o f i nd out .
The se i nt e nse ne got i at i ons l and W e s and L i l ah i m m e di at e l y i n be d; she brags t hat
she has e x pe ri e nce d se v e ral " l i t t l e de at hs. " S e ason F our ope ns wi t h a bang. W e s
and L i l ah are shown i n be d agai n, but what i s m uch m ore urge nt i s t he re v e l at i on
whi ch v i e we rs re ce i v e af t e r L i l ah l e av e s: D ark W e s has a gi rl i n a cage , and he r
nam e i s J ust i ne . S e ason F our of A nge l ( whi ch corre sponds t o S e ason S e v e n of
B uf f y ) re pre se nt s a l at e B uf f y v e rse narrat i v e m om e nt . The k i nk i s t e x t ual ; t he
S ade i an sy st e m i s e x pre sse d i n i t s own t e rm s and wi t h i t s own nam e i nt act . D ark
W e s has no conce rn what soe v e r f or J ust i ne ; she i s, at m ost , an ani m al t o hi m .
( H e al so cl ai m s, at t hi s poi nt , t o hav e no f e e l i ngs f or L i l ah, t hough t hi s i s be l i e d
by af f e ct i onat e subt e x t ual ge st ure s and hi s l at e r t e x t ual af f e ct i on f or he r. ) D ark
W e s e x pe ri m e nt s wi t h t he S ade i an sy st e m of e t hi cs and f i nds t hat t hi s sy st e m ,
wi t h i t s ut t e r l ack of i nt e re st i n conse nt , l ack s e ros. H e re l e ase s J ust i ne . H i s
e x pe ri m e nt at i on i m m e di at e l y re sum e s ( t hi s t i m e wi t h L i l ah) i n a conse nsual ,
e rot i c m ode . L i l ah posi t i ons he rse l f on t he bot t om : " S hut up, L i l ah. / Mak e m e ! "
( “ G round S t at e , ” A 4002) S he t hus of f e rs hi m a conse nsual al t e rnat i v e t o hi s
e t hi cal l y probl e m at i c use of J ust i ne . In f act , L i l ah t urns out t o be re m ark abl y
se rv i ce - ori e nt e d. S he has phone se x wi t h W e s, and he i s f i rm l y i n dom i nant m ode :
he orde rs he r t o t ak e he r pant i e s of f whi l e she ' s i n a m e e t i ng ( “ The H ouse A l way s
W i ns, ” A 4003) . S he e v e n i m pe rsonat e s F re d t o gi v e W e s hi s ul t i m at e Te x as
school gi rl f ant asy ( “ A pocal y pse , Nowi sh, ” A 4007) . S he t e ache s W e s how t o pl ay
saf e l y , sane l y and conse nsual l y —f or som e body who' s " e v i l , " she act ual l y gi v e s hi m
a t re m e ndous boon. D oe s he unde rst and t hi s? H e i s t he f i rst t o re f e r t o t he i r
" re l at i onshi p, " t hus l osi ng hi s one dol l ar be t wi t h L i l ah ( “ S l ouchi ng t oward
B e t hl e he m , ” A 4004) . W he n e v i l C ordy k i l l s L i l ah, A nge l us dri nk s f rom t he corpse .
Thi nk i ng t hat A nge l us k i l l e d he r, W e s m ust de capi t at e L i l ah, l e st she ri se as a
v am pi re . A s he pre pare s t o se v e r he r he ad, she ( or he r ghost ) be gi ns t o spe ak i n
hi s m i nd. S he re m i nds hi m about t he dol l ar be t and say s " y ou k ne w how I f e l t "
( “ S al v age , ” A 4013) . If t hi s ghost i s m ore t han a f i gm e nt of W e s' s gri e f - st ri ck e n
i m agi nat i on, t he n t he re l at i onshi p was as i m port ant t o he r as i t was t o hi m . W he n
W e s t e l l s he r he ' s sorry , she t ri e s t o l i f t t hat burde n f rom hi m : " O h, W e s, we
don' t hav e t hat word i n our v ocabul ary . Not pe opl e l i k e y ou and—" B ut t he re i s no
l onge r a " m e " t o com pl e t e t hat se nt e nce , and so W e s' s ax e com e s down. O f
course , no one i s e v e r re al l y de ad i n t he B uf f y v e rse . L i l ah' s st i l l around
( " st andard pe rpe t ui t y cl ause , " “ H om e , ” A 4022) , and e v e n t hough she doe sn' t
appe ar af t e r S e ason F our, she has m ade he r m ark . W e s has l e arne d som e t hi ng
about powe r; t hank s t o L i l ah, he has com pl e t e l y re de f i ne d hi s conce pt of t he
e rot i c. " It ' s not al way s about hol di ng hands, " he t e l l s F re d ( “ Pl ay e rs, ” A 4016) , i n
a f ut i l e at t e m pt t o e x pl ai n what he and L i l ah had share d. Poor l i t t l e F re d wi l l hav e
t o be com e an anci e nt bl ue godde ss be f ore she re al l y unde rst ands what he ' s t al k i ng
about .
[ 48] W e s/ L i l ah i s part of A nge l ' s am bi t i ous, ongoi ng proje ct t o norm al i ze
k i nk . B e cause t he f i rst t hre e se asons of B uf f y we re al re ady com pl e t e whe n A nge l
f i rst ai re d, t he l at t e r program was abl e t o m ov e t owards m uch m ore e x pl i ci t
t e x t ual de pi ct i ons of e rot i c powe r. F rom t he be gi nni ng, A nge l conv e y s t he f e e l i ng
t hat t he B uf f y v e rse has done about as m uch as i t can do wi t h subt e x t ual
re pre se nt at i ons of k i nk . O n A nge l , k i nk grows up, com e s out of t he cl ose t , and
be gi ns t o ce l e brat e i t se l f as a v al i d and v i abl e e rot i c sy st e m . The dual i st i c nat ure
of A nge l ' s prot agoni st m ak e s i t v e ry e asy t o pl ace m om e nt s of k i nk i n t he
program as a m at t e r of course . The basi c st ruct ure of t he se m om e nt s i s
e st abl i she d i n S e ason O ne : whe ne v e r A nge l ' s associ at e s suspe ct t hat he m ay hav e
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re v e rt e d t o A nge l us, t he y m ust bi nd hi m . F or som e m y st e ri ous re ason, t he job of

chai ni ng up A nge l ge ne ral l y f al l s t o C orde l i a; f or som e e v e n m ore m y st e ri ous
re ason, she l i k e s t o we ar l e at he r pant s whi l e she ' s doi ng i t ( “ Et e rni t y , ” A 1017) .
Ty i ng up A nge l be com e s such a rout i ne part of l i f e at A nge l Inv e st i gat i ons t hat i t
st art s t o se e m t e di ous. C orde l i a act ual l y com pl ai ns t hat put t i ng t he boss i nt o
bondage has be com e part of he r work l oad: " I ge t t o m ak e t he cof f e e and chai n t he
boss t o t he be d. I’ v e got t a joi n a uni on" ( “ Ex pe ct i ng, ” A 1011) . W e sure are n' t i n
S unny dal e any m ore . It t ook B uf f y and he r f ri e nds se v e n y e ars t o com e t o t e rm s
wi t h e rot i c powe r; whe n t he y f i nal l y di d, t he t own was de st roy e d. Thi ngs are
di f f e re nt i n t he C i t y of A nge l ( s) . In L . A . , k i nk i s a norm al part of bot h hom e and
work pl ace . W he n K nox gi v e s F re d a t our of t he f aci l i t i e s at W ol f ram and H art , t he
f i rst t hi ng he of f e rs t o show he r i s t he dunge on ( “ H om e , ” A 4022) .
[ 49] The i nt roduct i on of k i nk i nt o busi ne ss l i f e i s a sure si gn of i t s
norm al i zat i on. A nge l al so pre se nt s e rot i c powe r e x change as a st rat e gy by whi ch
ov e rwork e d prof e ssi onal s m ay re l i e v e t he st re ss and t e nsi on of t he i r work i ng l i v e s.
W he n A nge l and G roo v i si t a de m on brot he l , t he y f i nd a we l l - dre sse d m an
shack l e d t o a wal l . The we l l - m e ani ng but cl ue l e ss G roo t ri e s t o " re scue " t he m an.
" G roo, I t hi nk he ' s happy t he re , " say s t he sl i ght l y l e ss cl ue l e ss A nge l . " A s a
sl av e ?" re pl i e s G roo, shock e d ( “ C oupl e t , ” A 3014) . O f course , on G roo' s
hom e worl d, t he m ajor f orm of sl av e ry was al way s t he non- conse nsual , e conom i c
sort ( re ce nt l y abol i she d by Pri nce ss C ordy , “ The re ’ s No Pl ace L i k e Pl rt z G l rb, ”
A 2022) . H e f i nds i t hard t o unde rst and t hat som e one m i ght de l i be rat e l y e m brace
sl av e ry ' s e rot i c f orm . Ye t he m ust f ace t hi s di f f i cul t f act . " D on' t judge m e , " say s
t he wi l l i ng sl av e . In L . A . ( i f not i n Py l e a) , e rot i c sl av e ry doe s e x i st , sl av e s m ay
i nsi st upon t he i r ri ght t o be e nsl av e d, and hi gh- powe re d prof e ssi onal s m ay t urn t o
dom i nat ri ce s as t he y se e k t o i nv e rt t he powe r re l at i ons whi ch obt ai n i n t he i r work
e nv i ronm e nt s ( just as t oppy at t orne y L i l ah Morgan chose t o subm i t t o D ark W e s) .
[ 50] A l t hough k i nk i s acce pt e d and t ol e rat e d t hroughout A nge l ' s narrat i v e ,
t he norm al i zat i on of k i nk re ache s i t s hi ghe st e x pre ssi on i n S e ason F i v e . H e re t he
re pre se nt at i ons of e rot i c powe r be com e re m ark abl y cre at i v e , f anci f ul and
e l aborat e . The re i s t he de m on A rchduk e S e bassi s, who k e e ps a sl av e boy on a
l e ash. Thi s de m on sl av e i s f i t t e d wi t h a cork i n hi s wri st , so t hat he m ay bl e e d
i nt o a gl ass on com m and, t o sat i sf y hi s m ast e r' s dark e st t hi rst ( “ L i f e of t he
Part y , ” A 5005) . B l ood re m ai ns a m ajor f e t i sh t hroughout S e ason F i v e , and t he
show m ai nt ai ns a cl e ar space f or e t hi cal bl ood pl ay . A s f ar as we can t e l l , t he
re l at i onshi p be t we e n S e bassi s and hi s sl av e i s conse nsual . ( The sl av e boy i s
al l owe d t o " saf e word" by unhook i ng hi s chai n and runni ng away whe n t he
H al l owe e n part y ge t s t oo he av y f or hi m , A 5005. ) A nge l doe s i m pose a " no hum an
bl ood" pol i cy on W ol f ram and H art ' s v am pi re e m pl oy e e s, but l i k e al l m oral
prohi bi t i ons i n t he B uf f y v e rse , t hi s one i s not absol ut e . W he n H arm ony t e st s
posi t i v e f or hum an bl ood, F re d t ri e s t o consol e he r: " You sl i ppe d, had som e hum an
bl ood. May be i t was conse nsual " ( “ H arm ’ s W ay , ” A 5009) . B y t hi s poi nt , t he i de a
t hat hum ans m i ght conse nt t o hav e v am pi re s dri nk t he i r bl ood i s a
we l l - e st abl i she d conce pt i n t he B uf f y v e rse , and i t ' s cl e ar t hat t he e t hi cal st at us of
such conse nsual bl ood pl ay i s v e ry di f f e re nt f rom t hat of t he ol d- f ashi one d,
pre dat ory v am pi ri sm . The m oral m e ssage i s cl e ar: i f H arm ony or anot he r v am pi re
drank f rom a wi l l i ng " v i ct i m , " A nge l and com pany woul d not re gard t hat as a
m ajor cri m e . ( A nge l hi m se l f drank re l uct ant l y f rom t he wi l l i ng B uf f y , “ G raduat i on
D ay , ” B 3022; A nge l us drank e age rl y f rom t he se cre t l y wi l l i ng, drugge d F ai t h,
“ R e l e ase , ” A 4014. )
[ 51] In orde r t o ge t a com pl e t e se nse of A nge l ' s at t i t ude s re gardi ng e rot i c
powe r, howe v e r, we ne e d t o consi de r not just t he e l e m e nt s of de m on and v am pi re
k i nk whi ch are cl e arl y pre se nt i n S e ason F i v e , but al so t he aspe ct s of hum an k i nk .
19 of 27 9/8/07 12:15 PM
W hat m e ani ng doe s e rot i c powe r hol d f or t he ordi nary hum ans who i nhabi t A nge l ' s
L os A nge l e s ? A nge l ' s f i f t h se ason answe rs t hi s que st i on i n no unce rt ai n t e rm s,
t hrough t he re m ark abl e de v i ce of t he W ol f ram and H art " hol di ng di m e nsi on. "
S e ason F i v e " L i t t l e B ad" L i ndse y MacD onal d spe nds som e t i m e i n t hi s
e x t radi m e nsi onal pri son; so doe s conf l i ct e d cham pi on C harl e s G unn. The st ruct ure
of t he pri son i s re m ark abl y e x pl i ci t . O n t he surf ace , i t i s a re duct i oni st st e re ot y pe
of suburbi a, f e at uri ng rows and rows of i de nt i cal house s wi t h i de nt i cal m ani cure d
l awns. Each m orni ng, l ong l i ne s of i de nt i cal suburban husbands m arch out t he i r
f ront doors wi t h cl ock work pre ci si on, re t ri e v e t he i r i de nt i cal ne wspape rs, and wav e
t o t he i r i de nt i cal ne i ghbors. B ut i n t hi s di m e nsi on ( as i n re al worl d suburbi a) ,
t hi ngs are not qui t e as t he y se e m . Each day t he pri sone r ( f i rst L i ndse y , t he n
G unn) i s subje ct e d t o a re curri ng t orm e nt . Ev e ry day hi s pl e asant , at t ract i v e ,
v ani l l a wi f e se nds hi m i nt o t he base m e nt on a rout i ne chore . B ut t he base m e nt
t urns out t o be a f ul l y e qui ppe d m e di e v al dunge on. H e re t he v i ct i m has hi s he art
ri ppe d out of hi s che st , e ach and e v e ry day , by what t he e v e r- t e x t ual S pi k e re f e rs
t o as a " jui ce d- up S and M de m on" ( “ Unde rne at h, ” A 5017) . The v i ct i m t he n f orge t s
t hi s horror and re t urns upst ai rs, t o l i v e out anot he r i de nt i cal day .
[ 52] The " S and M de m on" i s re l e nt l e ssl y pre ci se and m e chani cal . It e x i st s
onl y t o t ort ure ; i t i s t he pure e sse nce of sadi sm . W he n G unn be gs t o k now why he
i s be i ng t ort ure d ( " L i st e n, pl e ase . . . . W hat di d I do?" “ Ti m e B om b, ” A 5019) , t he
de m on si l e nce s hi m wi t h a ge st ure . H e re t he re i s no why ; t he re i s onl y suf f e ri ng.
The re i s t hus a ce rt ai n puri t y t o t hi s dunge on, and t hat f act i s not l ost on i t s
v i ct i m s. A f t e r hi s com rade s re scue hi m , G unn m e di t at e s on t he nat ure of t hi s
st range he l l : " D o y ou k now what t he worst part of t hat pl ace was? W asn' t t he
base m e nt . A t l e ast t he re , y ou k ne w whe re y ou st ood. D e m on was gonna cut y our
he art out and show i t t o y ou. Nah. It was t he f ak e l i f e t he y gav e y ou upst ai rs. The
wi f e , k i ds, al l t he i ci ng on t he f am i l y cak e " ( A 5019) . Thi s spe e ch i s l i k e l y t o
produce a re m ark abl e se nse of v e rt i go i n t he v ani l l a v i e we r ( i f , i nde e d, any such
v i e we rs re m ai ne d by t he e nd of A nge l S e ason F i v e ) . W e m ust not unde re st i m at e
t he radi cal l y t ransgre ssi v e nat ure of G unn' s com m e nt s. G unn has just re t urne d
f rom a worl d whose t i dy , re pre sse d v ani l l a e x t e ri or hi de s a prof oundl y k i nk y
i nt e ri or. In t hi s way , W ol f ram and H art ' s e x t radi m e nsi onal suburbi a re se m bl e s
our own: t he k i nk i s t he re , but i t i s de e pl y cl ose t e d. B e cause t hi s di m e nsi on was
cre at e d by an e v i l l aw f i rm , t he k i nk i s non- conse nsual and e t hi cal l y i rre de e m abl e .
A nd y e t whe n G unn re t urns f rom t hi s he l l , he doe s not cri t i ci ze t he S / M de m on or
i t s act i ons. G unn' s e x pe ri e nce has t aught hi m som e t hi ng prof ound: t he base m e nt
i s not t he probl e m . The base m e nt i s hone st . In t he base m e nt , t he S / M de m on doe s
what i t was m ade t o do, and so doe s t he v i ct i m . The probl e m i s t he cl ose t ,
re pre se nt e d i n t hi s case by t he f i ct i t i ous v ani l l a l i f e upst ai rs. Thi s l i f e i s t e rri f y i ng
pre ci se l y be cause whe n one i s i n i t , one cannot i de nt i f y , art i cul at e or di scuss t he
e l e m e nt s of powe r whi ch e x i st i n e v e ry e rot i c re l at i onshi p. Ne got i at i ons are
one - si de d and pure l y i m pl i ci t . C onse nt i s ne i t he r sought nor grant e d. " Tri sh, " t he
v ani l l a house wi f e , se nds L i ndse y t o hi s f at e e ach day by ask i ng hi m t o go
downst ai rs and ge t a l i ght bul b. W he n he he si t at e s, she wal k s ov e r t o hi m , pl ace s
he r hand on hi s shoul de r si gni f i cant l y , and say s " I k i nda ne e d i t now"
( “ Unde rne at h, ” A 5017) . Thi s i s t he v e ry m ode l of v ani l l a powe r re l at i ons. In t hi s
sce nari o, Tri sh has al l t he powe r; L i ndse y has none . The re i s no ope n ne got i at i on.
L i ndse y ' s conse nt i s assum e d; t he re i s no way f or hi m t o re f use hi s " wi f e ' s"
com m and. Pe rhaps worst of al l , Tri sh se nds L i ndse y downst ai rs so t hat t he S / M
de m on can prov i de what she he rse l f cannot : a f rank and ope n sce nari o i n whi ch
t he rol e s are cl e ar and t he powe r re l at i ons are e x pl i ci t . The st ruct ure of t he S / M
di m e nsi on t hus m i rrors t hat of som e v ani l l a m arri age s, i n whi ch t he husband t urns
t o a prof e ssi onal dom i nat ri x or t he wi f e re t re at s i nt o onl i ne k i nk , si nce t he v ani l l a
spouse i s unabl e t o f ul f i l l t he e rot i c ne e ds of hi s or he r part ne r. W hat i s
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scandal ous about A nge l S e ason F i v e —i n a good way , f rom t he v i e wpoi nt of t he f an

and B uf f y S t udi e s com m uni t i e s—i s pre ci se l y i t s cri t i que of t he powe r dy nam i cs
whi ch obt ai n i n t y pi cal v ani l l a re l at i onshi ps.
I I I . "I t's Abou t P ow er. W h o's G ot I t. W h o Kn ow s How to U se

I t.": Kin k an d th e Eth ical Negotiation of P ow er w ith in th e
S layer C om m u n ity
[ 53] A s we hav e se e n, e arl y se ason B uf f y ' s conv e rsat i ons on and around t he
probl e m of powe r re m ai ne d l arge l y subt e x t ual . Ex pl i ci t st at e m e nt s about powe r i n
ge ne ral and e rot i c powe r i n part i cul ar we re re l at i v e l y i nf re que nt , and we re
t y pi cal l y m ade not by B uf f y but by F ai t h. F ai t h t hus pl ay e d a v i t al rol e i n t he
B uf f y v e rse ' s e arl y narrat i v e of powe r. B e cause she was t he " bad" S l ay e r, she was
aut hori ze d t o say t hi ngs whi ch e arl y se ason B uf f y coul d not say . F ai t h i s t he
S l ay e r who i s al way s hone st about t he e rot i c nat ure of he r powe r. F ai t h t hus
se i ze s cont rol of t he e rot i c pot e nt i al whi ch t he S l ay e r' s powe r cl e arl y cont ai ns.
" Isn' t i t crazy how sl ay i ng just al way s m ak e s y ou hungry and horny ?" F ai t h ask s
duri ng he r f i rst appe arance ( “ F ai t h, H ope , and Tri ck , ” B 3003) . H e re she shows a
re m ark abl e de gre e of ope nne ss and hone st y , consi de ri ng she has k nown t he
S cooby gang f or about t e n m i nut e s at t hi s poi nt . F ai t h al so pract i ce s what she
pre ache s. A f t e r a part i cul arl y e x ci t i ng f i ght , F ai t h t ak e s X ande r back t o he r m ot e l
room . S he t e l l s hi m t hat t he de m on " got m e re al l y wound up. A f i ght l i k e t hat
and. . . no k i l l . . . I' m about re ady t o pop" ( “ The Z e ppo, ” B 3013) . S he t he n t ak e s hi s
v i rgi ni t y . F ai t h al so be gi ns t o e ducat e B uf f y about t he e rot i c nat ure of S l ay i ng:
" sl ay i ng' s what we we re bui l t f or. If y ou' re not e njoy i ng i t , y ou' re doi ng som e t hi ng
wrong" ( “ B ad G i rl s, ” B 3014) . A t t hi s poi nt ( m i d S e ason Thre e ) , B uf f y re si st s
F ai t h' s argum e nt s; e arl y se ason B uf f y doe sn' t " ge t i t " y e t . B ut F ai t h has pl ant e d
t he se e ds.
[ 54] Thi s i s al so t he m om e nt whe n t he e t hi cal ri sk s i nhe re nt i n F ai t h' s
conce pt of powe r be com e e v i de nt . F ai t h be gi ns t o v i e w he rse l f and B uf f y as
supe rhum an be i ngs, une ncum be re d by i nconv e ni e nt sy st e m s of hum an e t hi cs. S he
acci de nt al l y k i l l s a m an and re f use s t o acce pt re sponsi bi l i t y f or he r act i on. S he
re je ct s t he conce pt of com m uni t y , and she re f use s t o abi de by any e t hi cal
st andards ot he r t han he r own, whi ch are i ncre asi ngl y m i ni m al i st . F ai t h has anot he r
e ncount e r wi t h X ande r. S he pre t e nds t o honor hi s de si re and re spe ct hi s l i m i t s:
" L i ght s on or of f ? K i nk s or v ani l l a?" X ande r, howe v e r, i s not i nt e re st e d i n
ne got i at i ng anot he r sce ne , re gardl e ss of t he l e v e l of k i nk i nv ol v e d. H e t ri e s t o
cont i nue t he i r conv e rsat i on, hopi ng t hat he can he l p F ai t h: " I t hought we had a
conne ct i on. " F ai t h i nsi st s on proce e di ng wi t h e rot i c powe r pl ay , e v e n t hough
X ande r has m ost ce rt ai nl y not conse nt e d t o i t . " I coul d do any t hi ng t o y ou ri ght
now, and y ou want m e t o. I can m ak e y ou scre am . I coul d m ak e y ou di e . " F ai t h
t urns t o bre at h pl ay —t he e dgi e st of t he e dge gam e s—and chok e s X ande r i nt o
unconsci ousne ss. O nl y t he t i m e l y arri v al of A nge l sav e s X ande r f rom se ri ous i njury
or de at h ( “ C onse que nce s, ” B 3015) .
[ 55] It i s at t hi s poi nt t hat F ai t h abandons bot h t he e t hi cal and t he e rot i c. It
i s e asy t o assum e t hat F ai t h' s bre ak wi t h e t hi cs occurs whe n she k i l l s t he de put y
m ay or. H owe v e r, B uf f y consi st e nt l y argue s t hat act s of l e t hal v i ol e nce such as t hi s
are not i rre de e m abl e . ( B y S e ason S e v e n, A ndre w coul d poi nt out t hat
" conf i de nt i al l y , a l ot of [ B uf f y ' s] pe opl e are m urde re rs. A ny a and W i l l ow and
S pi k e " “ F i rst D at e , ” B 7014. ) The re al probl e m he re i s t hat F ai t h has t urne d he r
back on he r com m uni t y and i t s st andards. In t he B uf f y v e rse as i n re al worl d B D S M
com m uni t i e s, t he e x change of e rot i c powe r be t we e n hum ans i s he l d t o be e t hi cal i f
21 of 27 9/8/07 12:15 PM
and onl y i f i t i s saf e , sane and conse nsual . The k i l l i ng of t he de put y m ay or was
acci de nt al ; had she sought he l p wi t hi n he r com m uni t y , F ai t h coul d hav e re cov e re d
f rom t hat . H e r assaul t on X ande r, howe v e r, was qui t e de l i be rat e . F ai t h t ri e s t o
just i f y t hi s at t ack t o A nge l : " The t hi ng wi t h X ande r; I k now what i t l ook e d l i k e ,
but we we re just pl ay i ng. " A nge l re sponds by e x pl i ci t l y i nv ok i ng t he m ajor
m e chani sm of conse nt f or sadom asochi st i c sce ne s: " A nd he f orgot t he saf e t y word.
Is t hat i t ?" F ai t h' s re pl y const i t ut e s a se ri ousl y di st urbi ng re nunci at i on of t he basi c
st andards of e rot i c powe r e x change : " S af e t y words are f or wusse s"
( “ C onse que nce s, ” B 3015) . H e re F ai t h posi t i ons he rse l f at t he v e ry m argi n of t he
m argi n. H e r ope n adv ocacy of e rot i c powe r has al re ady l ocat e d F ai t h on t he f ri nge
of e rot i c be hav i or. S he i s now i de nt i f y i ng he rse l f as an " e dge " pl ay e r who ne e d
not f ol l ow t he " saf e , sane and conse nsual " st andard. The probl e m , howe v e r, l i e s i n
t he f act t hat e v e n e dge pl ay has i t s own acce pt e d st andards and pract i ce s. It i s
possi bl e t o pl ay wi t hout saf e words, but such e dge pl ay re qui re s a v e ry hi gh l e v e l
of ne got i at i on and i nf orm e d conse nt . S uch pl ay t y pi cal l y occurs onl y wi t hi n t he
f ram e work of we l l - e st abl i she d e rot i c re l at i onshi ps. X ande r and F ai t h had no such
re l at i onshi p. In any case , X ande r l ack s e x pe ri e nce i n e rot i c powe r e x change . F or
F ai t h t o t ak e adv ant age of a " ne wbi e " i n t hi s way i s e nt i re l y unacce pt abl e , e v e n
by t he st andards of t he " e dge pl ay " subcul t ure . H e r non- conse nsual " pl ay " i s,
f undam e nt al l y , an act of rape .
[ 56] A f ul l se ason l at e r, F ai t h st i l l doe sn' t unde rst and t he e t hi cs of k i nk . In
" W ho A re You?" ( B 4016) , F ai t h has t ak e n posse ssi on of B uf f y ' s body , t hank s t o a
m agi cal de v i ce be que at he d t o he r by t he l at e May or. F ai t h t ri e s t o ne got i at e wi t h
B uf f y ' s boy f ri e nd, R i l e y : " W hat do y ou wanna do wi t h t hi s body ? W hat nast y l i t t l e
de si re hav e y ou be e n i t chi ng t o t ry out ? A m I a bad gi rl ? D o y ou wanna hurt m e ?"
A l t hough she i s we ari ng B uf f y ' s body , F ai t h' s e x pl i ci t i nv ocat i on of k i nk conv i nce s
R i l e y t hat t hi s i s not t he B uf f y he k nows and l ov e s. " W hat are we pl ay i ng at
he re ?" R i l e y de m ands. " I' m B uf f y , " F ai t h i nsi st s. " O k ay . The n I' l l be R i l e y , " he
de ci de s. F ai t h' s re pl y i l l ust rat e s he r di st urbi ng i nabi l i t y t o t ak e no f or an answe r.
" W e l l , i f y ou don' t wanna pl ay . . . " she huf f s. " R i ght . I don' t wanna pl ay , " R i l e y
agre e s, and gi v e s he r a ge nt l e k i ss. W he n F ai t h i ni t i at e d t hi s sce ne , she m ade a
num be r of unf ounde d assum pt i ons about t he f orm of R i l e y ' s de si re . It ne v e r e v e n
occurre d t o he r t hat he m i ght not conse nt t o he r pl ay age nda. F ai t h doe s hav e se x
wi t h R i l e y , but i t ' s doubt f ul t hat t hi s ( pre sum abl y v ani l l a) se x ual e ncount e r
sat i sf i e s he r e rot i c ne e ds; i t se e m s l i k e l y t hat she doe s i t m ai nl y t o hurt B uf f y . A s
bad as al l of t hi s i s, howe v e r, i t i s onl y on A nge l t hat we se e t he f ul l
conse que nce s of F ai t h' s de part ure f rom t he com m uni t y of S l ay e rs and i t s sy st e m
of e t hi cal k i nk . F ai t h arri v e s i n L os A nge l e s and f al l s i n wi t h W ol f ram and H art .
S he capt ure s and t ort ure s W e sl e y , he r f orm e r W at che r ( “ F i v e by F i v e , ” A 1018) .
Thi s re pre se nt s t he cul m i nat i on of t he t re nd whi ch be gan wi t h he r at t e m pt e d rape
of X ande r. W hat she had propose d t o do t o X ande r—t ort ure hi m non- conse nsual l y ,
f or he r own pl e asure , and wi t hout re gard t o hi s de si re or conse nt —she act ual l y
doe s t o W e sl e y . H e re F ai t h e nact s t he e t hi cal l y i rre de e m abl e S ade i an sy st e m , i n
whi ch t he pl e asure of t he t ort ure r i s al way s param ount , and t he conce rns of t he
v i ct i m i rre l e v ant . The e t hi cs of t he B uf f y v e rse , howe v e r, are sadom asochi st i c
rat he r t han sadi st i c. L i k e re al worl d B D S M com m uni t i e s, t he S l ay e r com m uni t y
i ncorporat e s t he st andard of subm i ssi v e conse nt de v e l ope d by Masoch t o produce
e t hi cal S / M. O f course t he non- conse nsual t ort ure re pre se nt s a t raum a f or W e sl e y ,
but what i s re al l y i nt e re st i ng about t hi s sce ne i s t he de v ast at i ng i m pact i t has on
F ai t h. H e r com pl e t e abandonm e nt of e t hi cs bre ak s t hrough he r l ast psy chol ogi cal
de f e nse s. B y t he e nd of " F i v e by F i v e , " she i s be ggi ng A nge l t o k i l l he r ( A 1018) .
[ 57] F ol l owi ng " R e st l e ss" ( B uf f y ' s S e ason F our f i nal e , B 4022) , t he
B uf f y v e rse ' s m e di t at i ons about powe r be com e i ncre asi ngl y e x pl i ci t and t e x t ual . In
" R e st l e ss, " B uf f y e ncount e rs t he Pri m al S l ay e r, anci e nt m ot he r of t he S l ay e r l i ne .
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B uf f y t he n wak e s up—f rom t he dre am i n whi ch t he Pri m al S l ay e r appe are d, and

al so f rom t hat dre am of an i nnoce nt worl d, i n whi ch re pre se nt at i ons of powe r
re m ai n be ne at h t he t e x t ual t hre shol d. Thi s i s t he m om e nt whe n B uf f y and B uf f y
ge t se ri ous about powe r. In t he v e ry ne x t e pi sode , t he l e ge ndary D racul a t e l l s
B uf f y t hat he r " powe r i s root e d i n dark ne ss" ( “ B uf f y v s. D racul a, ” B 5001) . D racul a
m ay be e v i l , but he ' s not wrong. A t t he e nd of t he e pi sode , B uf f y t e l l s G i l e s t hat
D racul a unde rst ood he r powe r be t t e r t han she doe s. B ut he r unde rst andi ng soon
i m prov e s. In " C he ck poi nt " ( B 5012) , B uf f y conf ront s t he W at che r' s C ounci l , t hat
e m i ne nt l y di sl i k e abl e col l e ct i on of t we e dy pat ri archs who cont rol l e d t he S l ay e r l i ne
unt i l B uf f y qui t work i ng f or t he m . The C ounci l once agai n t ri e s t o asse rt i t s
aut hori t y ov e r B uf f y . The concl usi on of t he e pi sode re pre se nt s a bre ak t hrough f or
B uf f y ( and i s al so de e pl y sat i sf y i ng t o t he audi e nce ) . H av i ng re al i ze d t hat wi t hout
a S l ay e r t he W at che rs are " pre t t y m uch just wat chi n' Mast e rpi e ce The at e r, " B uf f y
be gi ns t o spe ak about powe r di f f e re nt l y . " Powe r. I hav e i t . The y don' t . Thi s
bot he rs t he m . "
[ 58] H av i ng passe d t hrough t he " C he ck poi nt , " B uf f y and B uf f y are i n a ne w
e t hi cal uni v e rse . B uf f y unde rst ands t hat t he powe r i s he rs. S he i s now f re e , i n a
way whi ch she was not be f ore . S i m i l arl y , B uf f y unde rst ands i t se l f t o be i n a
di scursi v e posi t i on f rom whi ch ope n t e x t ual di scussi ons of powe r are now possi bl e .
In t he re m ark abl e " G e t It D one " ( B 7015) , B uf f y e ncount e rs pat ri archal powe r once
agai n. Thi s t i m e i t happe ns t hrough a re - e nact m e nt of t he e v e nt whi ch cre at e d t he
S l ay e r l i ne . B uf f y re t urns t o t he dre am t i m e , whe re she m e e t s t he anci e nt
pat ri archs who m ade t he f i rst S l ay e r. The y chai n he r t o a rock and re l e ase
t e nt acul ar de m ons, whi ch qui ck l y de sce nd on he r. The shadow pat ri archs t e l l he r
t hat t hi s de m on e ne rgy i s he r " t rue st st re ngt h. " To he r horror, B uf f y sudde nl y
re al i ze s t hat t hi s i s he r ori gi n. H e r he ri t age be gan he re , wi t h an unspe ak abl e act
of de m on rape . B ut B uf f y has al re ady shown t hat she i s a di f f e re nt k i nd of S l ay e r
f rom he r pri m al ance st or, and t hi s t i m e t he ori gi n st ory has a v e ry di f f e re nt
e ndi ng. B uf f y say s " no" t o t he de m on rape . " You v i ol at e d t hat gi rl , m ade he r k i l l
f or y ou be cause y ou' re we ak , y ou' re pat he t i c, " she de cl are s. S he bre ak s he r
chai ns, and t urns t hose chai ns i nt o a we apon whi ch she can use agai nst t he shadow
m e n. S he de f e at s t he m and bre ak s t he i r st af f . ( " It ' s al way s t he st af f , " she poi nt s
out , and t he cri t i que of phal l ocrat i c powe r i sn' t ge t t i ng any l e ss e x pl i ci t . )
[ 59] B uf f y wi l l not e ndorse t he anci e nt rape whi ch m ade t he S l ay e rs, nor
wi l l she subm i t t o such a v i ol at i on he rse l f , e v e n i f i t m i ght gi v e he r m ore powe r.
J e nni f e r C rusi e i s ri ght t o say t hat " t he cre at i on of t he S l ay e r was a v i ol e nt se x ual
sacri f i ce t o de at h. . . . B ut t he m y t h of B uf f y t he V am pi re S l ay e r has ne v e r be e n
t he m y t h of t he S l ay e r; i t ' s t he m y t h of B uf f y S um m e rs, t he S l ay e r who i s
di f f e re nt " ( " D at i ng D e at h" 95) . B uf f y wi l l not part i ci pat e i n a pat ri archal powe r
sy st e m ; she re je ct s pat ri archy ' s anci e nt t ri bal f orm ( S hadow Me n) as we l l as i t s
m ode rn bure aucrat i c f orm ( W at che r' s C ounci l ) . B ut t hi s doe s rai se an i m port ant
que st i on. If B uf f y re je ct s t hi s coe rci v e t y pe of powe r, t he n what i s t he source of
he r powe r? W e ge t a hi nt of t he answe r at t he e nd of " S am e Ti m e , S am e Pl ace "
( B 7003) , whe n B uf f y share s he r st re ngt h wi t h W i l l ow t o he l p W i l l ow he al f rom he r
i njuri e s. B uf f y ' s powe r i s t he k i nd whi ch can ( and pe rhaps shoul d) be share d. Thi s
t urns out t o be a m ajor t he m e of S e ason S e v e n.
[ 60] B y t he l at e se asons of B uf f y and A nge l , e x pl i ci t t e x t ual di scussi ons
about powe r we re be com i ng so com m on t hat i t was e v e n possi bl e t o re cupe rat e
F ai t h as a posi t i v e sy m bol of powe r' s e rot i c pot e nt i al . F ai t h spe nds som e t i m e i n
pri son, pursui ng a re de m pt i on whi ch m ai nl y occurs of f - scre e n. B y t he t i m e we se e
he r agai n ( i n A nge l S e ason F our) , a re m ark abl e re v e rsal has occurre d. S he has
re t urne d t o e t hi cs once agai n. In f act , she i s now abl e t o cl ai m t he m oral hi gh
ground ov e r D ark W e s, whose own sy st e m of e t hi cs has unde rgone consi de rabl e
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re v i si on. " You crosse d i t back t he re , W e s, " she say s af t e r W e s t ort ure s a f e m al e
i nf orm ant . W e s re m i nds he r of he r own e t hi cal l y probl e m at i c past : " O h, y ou hav e
a probl e m wi t h t ort ure now? I se e m t o re cal l a t i m e whe n y ou rat he r e njoy e d i t "
( “ R e l e ase , ” A 4014) . B ut F ai t h has conf i de nce i n he r own t ransf orm at i on: " Ye ah,
we l l , i t ' s not m e any m ore . "
[ 61] Thi s re m ark abl e t ransf orm at i on e v e nt ual l y pe rm i t s F ai t h t o re joi n t he
com m uni t y of S l ay e rs. In B uf f y S e ason S e v e n, F ai t h joi ns B uf f y and t he pot e nt i al
S l ay e rs i n t he i r f i ght agai nst t he F i rst . F rom t he m om e nt F ai t h re t urns t o
S unny dal e , she f i nds t hat t he m oral cat e gori e s whi ch se e m e d so cl e ar t o e v e ry one
be f ore hav e be com e conf use d. " A re y ou t he bad sl ay e r now?" she ask s B uf f y . " A m
I t he good sl ay e r now?" ( “ D i rt y G i rl s, ” B 7018) . It woul d be m ore accurat e t o say
t hat B uf f y has be com e t he S l ay e r who i s consci ousl y aware of t he ope rat i ons of
powe r, m uch as F ai t h al way s was be f ore he r " f al l . " A s f or F ai t h, she has re t urne d
t o he r com m uni t y and e m brace d i t s e t hi cs. B e cause she now re spe ct s t he
com m uni t y and i t s v al ue s, F ai t h i s agai n pe rm i t t e d t o pl ay e rot i c gam e s and push
e rot i c boundari e s. In short , he r k i nk i s now aut hori ze d. A nd i t i s aut hori ze d
pre ci se l y be cause F ai t h i s now art i cul at i ng he r v i e ws on e rot i c powe r wi t hi n t he
e t hi cal f ram e work prov i de d t o he r by t he S l ay e r com m uni t y . In a pl ay f ul sce ne
wi t h S pi k e , F ai t h m e nt i ons t hat " t hi s one guy I ran wi t h, he l i k e d m e t o dre ss up
l i k e a school gi rl and t ak e t hi s f ri ggi n' bul l - whi p, and I' d be l i k e . . . ?" ( B 7018) .
F ai t h consi de rs " l ook i ng up" t he guy wi t h t he bul l whi p. W e k now she won' t do i t ,
but t he m e ssage i s cl e ar. S he has f orsak e n t he non- conse nsual , une t hi cal use of
he r powe r. S he has re t urne d t o t he f ol d of e t hi cs. S he has al way s k nown t hat he r
powe r cont ai ns prof ound e rot i c pot e nt i al ; now she unde rst ands, at l ast , t hat t hi s
pot e nt i al can onl y be re al i ze d i f she e m pl oy s i t accordi ng t o t he e t hi cal st andards
of he r com m uni t y .
[ 62] The se ason ( and B uf f y ) concl ude whe n B uf f y de ci de s t o share he r powe r
wi t h al l of t he Pot e nt i al s, m ak i ng e v e ry Pot e nt i al i nt o a f ul l - f l e dge d S l ay e r
( " C hose n, " B 7022) . H e re B uf f y subv e rt s i t s own f oundat i onal m y t h. " In e v e ry
ge ne rat i on one S l ay e r i s born be cause a bunch of m e n who di e d t housands of y e ars
ago m ade up t hat rul e , " B uf f y de cl are s. " The y we re powe rf ul m e n. Thi s wom an [
W i l l ow ] i s m ore powe rf ul t han al l of t he m com bi ne d. S o I say we change t he rul e .
I say m y powe r shoul d be our powe r. " H av i ng re nounce d pat ri archy , B uf f y i s f re e
t o e x pe ri m e nt wi t h a ne w f orm of powe r, one whi ch i s base d upon com m uni t y and
conse nt . " Mak e y our choi ce , " she t e l l s t he Pot e nt i al s. " A re y ou re ady t o be
st rong?" A t t he e nd of he r journe y , B uf f y com e s down i n f av or of a f orm of powe r
whi ch i s conse nsual rat he r t han coe rci v e , a t y pe of powe r whi ch i s ne got i at e d and
share d. B y doi ng so, she i ni t i at e s a ne w com m uni t y and possi bl y a ne w race of
wom e n, m uch t o pat ri archy ' s di sm ay .
[ 63] J e nni f e r C rusi e has re ce nt l y wonde re d why " t he G ood G i rl s G one B ad of
t he W he don Uni v e rse —t he B ad W i l l ow, B uf f y f rom C l e v e l and, C orde l i a t he
B e ast m ast e r and B l ue F re d—al way s we ar t oo m uch e y e l i ne r and dre ss l i k e
dom i nat ri x e s? W he re ' s t he subt e x t , t he hum or, t he subt l e t y ?" ( " A ssassi nat i on of
C orde l i a C hase " 193) . S i nce C rusi e draws m ost of he r e x am pl e s f rom t he l at e
se ason B uf f y v e rse , t he answe rs are cl e ar. The subt e x t i s whe re i t be l ongs, i n e arl y
se ason B uf f y , whe re i t re t ai ns gre at hi st ori cal i m port ance . The hum or i s st i l l
t he re ; i f any t hi ng, i t i s m ore t horoughl y pre se nt t han e v e r. ( A nge l S e ason F i v e
m ay we l l be t he m ost hi l ari ous of t he B uf f y v e rse ' s t we l v e se asons. ) The subt l e t y
i s gone , a ne ce ssary casual t y of t he m at urat i on proce ss. A f t e r t we l v e re m ark abl e
se asons, t he B uf f y v e rse has re ache d adul t hood. It s k i nk i s out of t he cl ose t , and
t hat k i nk has be com e a norm al , he al t hy part of l i f e . Erot i c powe r no l onge r ne e ds
t o hi de i n t he subt e x t . Thi s f orm of powe r has be e n e m anci pat e d at l ast . To be
sure , t hi s l i be rat i on re pre se nt s a gre at boon f or t hose who i nhabi t t he B uf f y v e rse .
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More i m port ant l y , i t re pre se nt s a re m ark abl e hi st ori cal opport uni t y f or t hose who
wat ch t hat uni v e rse . B uf f y and A nge l hav e pre se nt e d t he i r audi e nce wi t h a
pract i cal , e t hi cal m ode l of e rot i c powe r e x change . B y doi ng so, t he y hav e
aut hori ze d t hat audi e nce t o de pl oy t hi s m ode l i n t he re al worl d. H um an e rot i c
re l at i ons can onl y be ne f i t f rom t hi s m uch- ne e de d dose of hone st y , ope nne ss and
e t hi cs.
A No t e A b o ut Dia lo g ue Q uo t a t io ns
A l l di al ogue quot at i ons are t ak e n f rom t he e x ce l l e nt B uf f y v e rse D i al ogue D at aB ase
at ht t p: / / v ry a. ne t / bdb/ i nde x . php. F or a com pl e t e l i st i ng of al l B uf f y and A nge l
e pi sode s, se e ht t p: / / v ry a. ne t / bdb/ e p. php.
The di al ogue quot at i ons whi ch f orm t he t i t l e s of t hi s e ssay , i t s se ct i ons and

subse ct i ons are t ak e n f rom t he f ol l owi ng e pi sode s: A ny a say s " S ounds l i k e k i nk y
busi ne ss t o m e " i n " S t ory t e l l e r" ( B 7016) . G i l e s say s " I be l i e v e t he subt e x t he re i s
rapi dl y be com i ng t e x t " i n " Te d" ( B 2011) . W i l l ow say s " D i d we not put t he ' grr' i n
' grrl ' ?" i n " L i v i ng C ondi t i ons" ( B 4002) . B uf f y si ngs " G i v e Me S om e t hi ng t o S i ng
A bout " i n " O nce More , W i t h F e e l i ng" ( B 6007) . F re d say s " It . . . t urns t he TV i nt o a
t wo- way condui t wi t h di re ct acce ss t o t he v i e we r! " i n " S m i l e Ti m e " ( A 5014) . The
F i rst as D rusi l l a say s " That ' s why our k i nd m ak e such good dol l i e s" i n " B ri ng O n
t he Ni ght " ( B 7010) . A ny a say s " Pe rv e rt ! " and X ande r re pl i e s " O t he r Pe rv e rt ! " i n
" The G i f t " ( B 5022) . B uf f y say s " It ' s about powe r. W ho' s got i t . W ho k nows how t o
use i t " at t he be gi nni ng of " L e ssons" ( B 7001) .
Wo r k s Cit e d
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G l ass i n B uf f y and A nge l . " S l ay age : The O nl i ne Int e rnat i onal J ournal of
B uf f y S t udi e s 15 ( 2004) ht t p: / / sl ay age onl i ne . com /
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B urr, V i v i e n. " A m bi gui t y and S e x ual i t y i n B uf f y t he V am pi re S l ay e r: A S art re an
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C rusi e , J e nni f e r. " D at i ng D e at h. " S e v e n S e asons of B uf f y : S ci e nce F i ct i on and
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A nge l . Ed. R oz K av e ne y . Ne w York I. B . Tauri s, 2004. 220- 232.
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( S um m e r 2002) , ht t p: / / www. he ri zons. ca/ m agazi ne / i ssue s/ sum 02/ m ore . ht m l
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26 of 27 9/8/07 12:15 PM
[1] See Vivien Burr's Sartrean interpretation of Buffy (Burr, "Ambiguity and Sexuality").
[2] As Kevin Andrew Murphy has noted, the BBC considers science fiction and fantasy to be
children's viewing; as such, they are typically scheduled for the "teatime" slot and rigorously
censored (142).
[3] In the Buffyverse as in real world kink communities, erotic activity is typically considered
ethical only if it is "safe, sane and consensual." For more on this, see the discussion of Faith in
section III below.
27 of 27 9/8/07 12:15 PM

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[ 1] B uf f y t he V am pi re S l ay e r and A nge l hav e done a gre at de al t o prom ot e

S i nce spok e n di al ogue i s t he m ai n f orm of t e x t ual i t y i n narrat i v e t e l e v i si on, t he

In t he k i nk y re gi st e r of t he B uf f y v e rse canon t he show' s que e r and f e m i ni st

W hat B uf f y and A nge l occupy , t he n, i s a v e ry post m ode rn, e arl y t we nt y - f i rst

I . "I Believe th e S u btext Here is Rapidly Becom in g Text": Th e

" Did We No t Put t he 'Gr r ' in 'Gr r l'?" : Will t o Po w e r

[ 10] Ev e ry one i n t he B uf f y v e rse f ol l ows t he pat h of powe r i n one way or anot he r,

wi t h he r " puppy " ) , but she subm i t s t o t he Mast e r. W he n V ani l l a W i l l ow m e e t s he r

al m ost re ady t o com e out about k i nk . To bri ng B uf f y back f rom t he dre am t i m e

" Give Me So m e t hing t o Sing A b o ut " : B uffy a nd Sp ik e

t he n, i s t hi s: why we re t he show' s produce rs so t e rri f i e d by t he posi t i v e f an

( " The curt ai ns cl ose on a k i ss, G od k nows. " ) B uf f y t he n m ov e s brav e l y i nt o t he

t i m e i n t he B uf f y v e rse , but t hi s be aut i f ul m ont age of i nt e rcut se x sce ne s t ak e s

I I . "I t. . .Tu rn s th e TV in to a Tw o- w ay C on du it w ith Direct Access

" T ha t 's Why O ur K ind Ma k e Suc h Go o d Do llie s " : V a m p ir e K ink in t he

" Pe r ve r t !/ O t he r Pe r ve r t !" : Hum a n K ink in t he B uffy ve r s e

re l at i onshi p wi t h he r i s by f ar hi s m ost se ri ous. A ny a al so happe ns t o be ope nl y ,

re v e rt e d t o A nge l us, t he y m ust bi nd hi m . F or som e m y st e ri ous re ason, t he job of

scandal ous about A nge l S e ason F i v e —i n a good way , f rom t he v i e wpoi nt of t he f an

I I I . "I t's Abou t P ow er. W h o's G ot I t. W h o Kn ow s How to U se

B uf f y t he n wak e s up—f rom t he dre am i n whi ch t he Pri m al S l ay e r appe are d, and

The di al ogue quot at i ons whi ch f orm t he t i t l e s of t hi s e ssay , i t s se ct i ons and

H e i ne ck e n, D awn. " F an R e adi ngs of S e x and V i ol e nce on B uf f y t he V am pi re

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