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Home , Buffy studies, Buffy Summers, Buffy the Vampire Slayer, Nicholas Brendon, Provider (Angel), Rupert Giles

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Brooke Suermann

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Buffy The Slayer: Slaying Traditional Masculinity ​ is considered a highly empowering, feminist show by many ​ who watch it. While most admire Buffy for her strength, intelligence, and overall badassery, there is much more to be admired about how interacts with her fellow characters.

Specifically, Buffy has a very interesting relationship with masculinity, which is shown through her relationships with , Rupert , , and Spike. The relationship between

Buffy and masculinity explores the aforementioned men’s many different performances of masculinity, each one holding a significantly different combination of traits deemed both masculine and feminine. These men’s performances of masculinity have a big impact on the route the show takes and how Buffy acts in response to them.

Before analysis on those male characters and Buffy’s relationship with them can occur, a baseline knowledge of the show and the universe it takes place in must be established. Buffy The ​ Vampire Slayer, created by , aired from 1997 until 2003 on the television networks ​ the WB and the UPN (“Joss Whedon Biography”). The show follows a teenage protagonist named , portrayed by , who is the Slayer; the chosen one, the only girl in the world with the calling and ability to kill and defeat the forces of evil

(Owen 24). Buffy is a reluctant at first as she just wants to live a “normal” teenage life but is called to protect society and, at times, the world, at the expense of her own personal life

(Owen 30). However, she eventually comes to terms with her calling and ends up putting it above many other aspects of her life. With her and Xander Harris,

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frenemy Cordelia Chase, love interest Angel (and later, Spike), and watcher (the person sent to guide the slayer) , Buffy takes on many demons, both and not, all while trying to survive long enough to graduate high school and college (Owen 26-27).

Not only does Buffy slay vampires, she also slays the patriarchy. Buffy is shown as a powerful, “woman warrior,” who is capable of saving herself and everyone else (Early 19).

However, in doing so, she doesn’t reject everything that is stereotypically feminine as some strong female characters do. In fact, some of those “feminine” attributes are what make her such a powerful warrior (Buttsworth 185). She is a role model for young girls by showing them that they can be strong, powerful, and valuable, while also showing them that they can be vulnerable, loved, and compassionate. Buffy is purposefully portrayed as a feminist character. Buffy is a feminist because she constantly challenges traditional gender roles, traditional views of femininity, and authority in order to do what she believes is right (Buttsworth 190). She takes the things that are usually used to detract from femininity and turns them into her strength; since she is a slim, “girlie girl” her enemies often underestimate her prowess and inner and outer strength

(Buttsworth 193). Additionally, Buffy doesn’t define herself by her relationships with the men around her. Romance is an aspect of her storyline, but it most definitely is not the key point of her life or her story (Murkherjea 5). Due to these factors, and so many more, Buffy is believed to be a strong example of a third-wave feminist (Karras). The show puts an emphasis on without being divisive, challenges the gender roles of its , and appreciates the different experiences diverse women have (Karras).

Buffy The Vampire Slayer not only challenges traditional views of femininity by showing ​ a horror/supernatural plot through a feminist lense, but the male characters of the show (and their

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relationships with Buffy) oftentimes challenge traditional views of masculinity. Masculinity is

“mainly a set of habits, traditions and beliefs historically associated with being a man,” (Perry 5).

Some traditional views of masculinity include being physically and mentally tough, having success, having power, having status, being looked up to, being confident, being self-reliant

(especially in a times of crisis), violence and aggression, individuality, and no outward expression of emotions (Perry 8). However, masculinity is not a stagnant set of behaviors that men must portray in order to be “real men” (Perry 5). Masculinity is not a prescriptive character type that will be the same in every person, everywhere (Herrmann and Herbrig 90). As Judith

Butler says, gender is a performative action; the acts, gestures, and enactments a person does provide the illusion of a particular gender identity (Butler 136). Butler also asserts that being entirely “normal” in terms of gender identity typically ends in failure, no one can wholly embody all traits associated with their chosen gender (Butler 139). In fact, when tested, men and women were scored equally high or low as having feminine or masculine traits and having a high score in masculinity didn’t correlate with a low score in femininity and vice versa (Berger 16). Some key characters in the show that have an interesting relationship with masculinity are Xander,

Giles, Angel, and Spike.

Xander Harris, portrayed by , is one of the first friends that Buffy makes when she moves to (Early 13). Xander is described as the loyal, charming, and sarcastic boy-next-door (Early 13). He, like many of the male characters on the show, is a feminized male (Owen 26). He doesn’t perform his gender is a way that asserts traditional masculinity. In fact, Xander is apprehensive when it comes to heteronormative masculinity as he doesn’t fit in with the “alpha male” jock types in Sunnydale and also fails to impress the female

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peers that he has romantic interest in (Owen 26). Along these lines, he sometimes refers to himself as “less than a man” because he isn’t able to contribute very much physically to the battle against the forces of evil (Early 19). Judith Butler validates Xander’s feelings as something everyone trying to fit into the gender binary can attest to, “the construction [of gender]

“compels” our belief in its necessity and naturalness,” (Butler 140). Herrman and Herbrig assert that “Xander Harris presents us with a depiction of masculinity that must manage how cultural conceptions of masculinity and femininity are linked to discourses of power and individuality,”

(90). Xander’s character often blatantly calls out his apprehensiveness and acknowledges his slight feelings of anxiety when compared to the force that is Buffy Summers (Owen 26).

However, Xander has a respect for Buffy’s abilities, and because of this he is able to rise “up alongside women and minorities, fighting for a future where those fail in the Department [of masculinity] can seek success and happiness on their own terms,” (Perry 18). While the quote references fighting as in fighting the patriarchy and not demons, it is applicable because Xander doesn’t let it bother him (as it does some alpha male characters) that Buffy is a woman and can kick serious demon butt. Oftentimes, Xander takes on the role of the damsel-in-distress that is, as the name suggests, typically feminized; he often gets in situations that requires him to be saved and most of the time Buffy is the one doing the saving (Buttsworth 187). However, he does have moments where he pulls his weight in saving the world. Xander even saves Buffy’s life at the end of season 1; the show couldn’t have continued without him (Herrmann and

Herbrig 89). The relationship between Buffy and Xander is a platonic one and one that sometimes leaves Xander feeling inferior although he respects her strength, ability, and intelligence, and Buffy has the same respect for him.

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Like Xander, Giles is another feminized character in the world of Buffy The Vampire ​ Slayer. Rupert Giles, lovingly referred to as “Giles” and portrayed by Anthony Stewart Head, is ​ Buffy’s guide throughout the series (Early 13). Giles is Buffy’s Watcher, initially disguised as the librarian at Sunnydale High; he helps Buffy accept her as the Slayer, he helps her prepare physically and mentally for the battles she faces, and he provides her with vital knowledge about the mythical monsters, horrifying demons, and undead foes she will come up against (Owen 25-26). He is characterized as a quiet, bookworm type and is very nurturing towards Buffy. The relationship between Giles and Buffy eventually turns into father-daughter like relationship, with Buffy’s biological father being absent for the majority of the series. Even peripheral characters of the series notice the paternal role that Giles plays in Buffy’s life (Early

22). For most of the series, Buffy’s mother, Joyce, is unaware of her ability so Giles subsequently fills in the traditionally maternal role of nurturing Buffy because Joyce doesn’t know about the real struggles Buffy endures as the Slayer (Owen 26). While Giles is typically considered old fashioned since he rejects the modern technology of the time, his performance of masculinity is anything but old fashioned (Owen 26). Giles’ character often switches between being the protected and the protectee, but when he is the protector he views his heroism as “team effort and self- rather than “masculine” individualist heroics,” (“New Men: ‘Playing the

Sensitive Lad.’”). Since he serves as Buffy’s mentor, teacher, and father-figure, Giles could easily fall into a patriarchal and hierarchical position but he does not; Giles keeps himself relatively on the same level as Buffy and her friends and rarely tells Buffy that she isn’t capable of doing something (“New Men: ‘Playing the Sensitive Lad.’”). However, he does hold some traditionally masculine ideals such as being a provider and protector for those he cares about.

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This is shown vividly when his character declines into an unemployed drunk -- he struggles with feeling like he has failed as a protector and provider (“New Men: ‘Playing the Sensitive Lad.’”).

Giles also employs more traditionally masculine tendencies in his aggressive, violent alter ego,

Ripper, though even as that more masculine character, he is still referred to in a feminized way, like when the demon possessing Mrs. Calendar’s body says, “You’re like a woman, Ripper. You never had enough strength for me,” (“New Men: ‘Playing the Sensitive Lad.’”). However, through most of the series Giles maintains his sensitive, nurturing, wise, and kind persona, one that he is the most well-known for - especially when it comes to his relationship with the show’s heroine, Buffy.

In contrast to Giles and Xander, Angel, portrayed by , portrays one of the most traditionally masculine characters in the series. Angel, a vampire with a , has a tumultuous relationship with Buffy (Early 14). He’s been Buffy’s lover, protector, and nemesis depending on the season (Early 14). In terms of masculinity, Angel is the muscled, brooding, loner type who finds it his duty to protect Buffy (Mukherjea 5). Angel is definitively the most sexualized character in Buffy’s entirety; he is constantly shirtless and showing off his ripped ​ ​ muscles (Owen 27). In a way, his sexualization on the show flips the typical paradigm in the horror genre of the overly sexualized girl, though he generally doesn’t need saving. However, the fact that Angel doesn’t need saving contributes to his role as a traditionally masculine figure.

Angel, very stubbornly, insists on dealing with his problems himself and sometimes has issues vocalizing/showing his true feelings for Buffy (Spicer). Through his relationship with Buffy, he also enables the use of heterosexual romance clichés “such as the redemptive power of dyadic love, the agony and angst of star-crossed lovers, the allure of secret trysts, and the deflowering of

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the female virgin,” (Owen 27). While his appearance and some of his actions are the epitome of traditional masculinity, Angel isn’t a hyper-masculine, patriarchal figure in the show; that role is left for his unsouled, evil side, Angelus (Spicer). Angelus emerges after Angel loses his soul, something that could only happen after he experiences a moment of true, pure happiness

(Spicer). This moment is the first time he and Buffy sleep together (Spicer). Once he loses his soul, Angel reverts back to Angelus, arguably one of the biggest villains of the show. As

Angelus, he slips back into the role of the alpha male over two fellow vampires, Spike and

Drusilla, a role he held at a previous time (Spicer). He tries to emasculate a wheelchair-bound

Spike who cannot have sex with Drusilla, and he actively asserts his power, dominance, and confidence over others through methods such as torture (Spicer). In this role, Angelus exhibits, to the worst extent, most aspects of masculinity and even uses them to mock/harm his former lover, Buffy.

Spike () and Buffy’s relationship is similar to that on Buffy and Angel’s because they’ve been both lovers and enemies (Early 14). Spike is another character that is feminized, though he comes off as an extremely masculine character in appearance (Spicer). He enters the show in season two, and is immediately coded as a masculine figure. Spike wears leather, has bleach-blonde hair, dresses in all black, exerts his power over Buffy by almost killing her in their first encounter, and fills the traditionally masculine role over his fragile, ailing, ultra-feminine lover, Drusilla (Spicer). However, Spike seems very insecure in his masculinity. When the unsouled Angelus enters Spike’s life, this is shown very obviously, especially since Angelus constantly belittles and attacks Spike and his masculinity (Spicer). His character is feminized in many ways. Spike kills Slayers (that are all women) because he likes a

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challenge and acknowledges the strength and prowess these women have (Spicer). Additionally,

Spike rejects typical symbols of masculinity such as weapons (opting for hand-to-hand combat), and questions traditional gender roles by acknowledging and not being threatened by the power

Buffy has, (Mukherjea 5; Spicer). Spike is further feminized by the fact that he is able to have healthy relationships with women, has a need for companionship, and falls in love with someone

(Buffy) who initially only wants him for sex (a stereotypically masculine action) (Spicer).

However, Spike assumes a masculine role in season six when he nearly rapes Buffy while trying to get her to admit her feelings for him - something he stops himself from doing and causes him to start transforming himself; he is horrified at himself for nearly violating the woman he truly loves (Spicer). Moving forward, Spike changes substantially and Buffy allows him into her life as not just a sex, but as a companion and lover (Spicer). Buffy and Spike have a tumultuous, rocky relationship that exerts Spike’s place as a feminized character.

As has been shown, not only is Buffy The Vampire Slayer an incredibly feminist piece of ​ ​ media, it is also one that addresses the somewhat taboo subject of masculinity. Buffy tackles many different forms of masculinity through her relationships with Xander, Giles, Angel, and

Spike. This relationship between her personality and theirs is one that heavily influences the plot of the show and, at times, challenges the stereotypical masculine norms.

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Works Cited

Berger, Maurice, et al. Constructing Masculinity. Routledge, 1995. ​ ​ Buttsworth, Sara. “'Bite Me': Buffy and the Penetration of the Gendered

Warrior-Hero.”Continuum: Journal of Media & Cultural Studies, vol. 16, no. 2, 2010, pp. ​ ​ 185–199., doi:10.1080/10304310220138750.

Early, Francis H. “Staking Her Claim: Buffy the Vampire Slayer as Transgressive Woman

Warrior.” The Journal of , vol. 35, no. 3, 2001, pp. 11–27.,

doi:10.1111/j.0022-3840.2001.3503_11.x.

Herrmann, Andrew F, and Art Herbig. “The Popular Culture Studies Journal.” The Popular ​ Culture Studies Journal, vol. 3, no. 1, ser. 2, 2015, pp. 95–111. 2, ​ ​ ​ www.researchgate.net/profile/Stephanie_Young14/publication/307597179_Book_Revie

w_The_Colorblind_Screen_Television_in_a_Post-Racial_America/links/57cb9e9708ae3

ac722b1ef8d.pdf#page=95.

“Joss Whedon Biography.” Biography.com, A&E Networks Television, 30 Mar. 2017, ​ ​ www..com/people/joss-whedon-17181746. ​ Karras, Irene. “The Third Wave's : Buffy the Vampire Slayer.” Third Space: A Journal ​ of Feminist Theory and Culture, vol. 1, no. 2, Mar. 2002, ​ journals.sfu.ca/thirdspace/index.php/journal/article/view/karras/50.

Mukherjea, Ananya. “My Vampire Boyfriend: , ‘Perfect’ Masculinity, and the

Contemporary Appeal of Paranormal Romance.” Studies in Popular Culture, vol. 33, no. ​ ​ 2, 2011, pp. 1–20. JSTOR, JSTOR, www.jstor.org/stable/23416381. ​ ​ “New Men: ‘Playing the Sensitive Lad.’” : a Gender Studies Primer for the ​

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Buffy Fan, by Lorna Jowett, Wesleyan Univ. Press, 2006, ​ offline.buffy.de/outlink_en.php?module=/webserver/offline/www.slayage./PDF/jowett.

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Owen, A. S. "Buffy the Vampire Slayer: Vampires, Postmodernity, and Postfeminism." Journal ​ of Popular Film & Television, vol. 27, no. 2, 1999, pp. 24-31. ProQuest, ​ ​ ​ https://proxying.lib.ncsu.edu/index.php/login?url=https://search.proquest.com/docview/1

99362321?accountid=12725. ​ Perry, Grayson. The Descent of Man. Penguin Books, 2017. ​ ​ Spicer, Arwen. "’Love’s Bitch but Man Enough to Admit It’: Spike’s Hybridized Gender."

Slayage: The Online International Journal of 2 (2002): 24. ​