Buffy the Vampire Slayer: Once More, with Feeling Free

Total Page:16

File Type:pdf, Size:1020Kb

Buffy the Vampire Slayer: Once More, with Feeling Free FREE BUFFY THE VAMPIRE SLAYER: ONCE MORE, WITH FEELING PDF John Nicholas | 92 pages | 01 Jun 2008 | Cherry Lane Music Company | 9781603780438 | English | United States Once More, with Feeling (Buffy soundtrack) - Wikipedia It's the seventh episode of the sixth season and the one hundred seventh in the series. Series creator Buffy the Vampire Slayer: Once More Whedon wrote, directed and composed the music for this episode in which a mysterious force impels the Scooby Gang with Feeling burst into song. Even Buffy devotees may be hard-pressed to find an episode as off-the-wall as this, as Sunnydale denizens Buffy the Vampire Slayer: Once More players in production numbers in which cast members do their own vocals. Hear Tara sing about her love for Willow! See Xander and Anya perform a duet! Listen to Buffy croon about her lack of life direction! Who's behind the music? Dawn provides the key. Buffy is patrolling in a cemetery at night, but there is something wrong with her and with demons and vampires she meets: they are all singing and dancing. Buffy sings about her life after resurrecting, and the way she feels detached from it. The following morning, the Scoobies reunite at the Magic Box and find out such things have happened to them all. They further learn that it's not just happened to them; all the people in Sunnydale are Buffy the Vampire Slayer: Once More to sing about their inner feelings, as a group nearby performs about cleaning mustard out of a shirt "The Mustard". Willow and Tara leave the discussion to enjoy the day, and Tara sings a love song to Willow about the difference she's made in her life, which leads them to their bedroom "Under Your Spell". Somewhere else, at night a man uncontrollably tap dances on the street, until he spontaneously combust. A demon watches him and calls it entertainment. Buffy the Vampire Slayer: Once More the morning in Xander's apartmenthe and Anya sing together about things they would otherwise have never told with Feeling or each other, namely their fears about their coming marriage "I'll Never Tell". They then complain with Giles about the constant singing, and discuss the man who caught on fire as reported on Sunnydale Pressignoring a woman trying to sing her way out of a parking ticket "The Parking Ticket". At night, to investigate the current events, Buffy visits Spike on his crypt, when he's forced to sing to her about the torturous nature of their relationship, telling her to stay away from him if she doesn't Buffy the Vampire Slayer: Once More a decision about them "Rest in Peace". When Dawn gets home from school, she talks with Tara, who tells her that it looks like a demon is responsible for the singing. Dawn mentions to Tara her recent argument with Willow, an argument Tara can't remember. She remembers the bramble she found in the bedroom that morning and has been wearing and begins to worry that Willow may have cast a spell on her and rushes out to check on whether this hunch with Feeling right. Dawn, now alone, goes through her stash of stolen goods, and puts on a necklace she took from the Magic Box. She starts singing about her life, but is kidnapped by Sweet's minionsinterrupting Buffy the Vampire Slayer: Once More song "Dawn's Lament". When Dawn wakes up in the Bronzeshe and Buffy the Vampire Slayer: Once More three minions engage in an interpretive dance, which is Dawn's attempt to escape "Dawn's Ballet". Suddenly, the demon Sweet arrives tap dancing and introduces himself in a song. He mentions his intention of taking her to the Underworld and make her his queen, accusing Dawn of summoning him. He also explains if the melodies go on too long, people will combust and burn up from Buffy the Vampire Slayer: Once More intensity of emotion. Dawn tells him that her sister is the Slayer, so he tells his minions to bring Buffy to him so he can watch her burn "What You Feel". Meanwhile in the Magic Box, Giles and Buffy train in case she is expected to fight whatever is causing the singing. Giles asks if Buffy spoke to Dawn about her misbehavior during Halloweenbut Buffy tells him she'd assumed he had sorted it. As Buffy continues her training, Giles sings, unheard by her, a song about his thoughts that his continued presence encourages Buffy to remain emotionally dependent on him, thus he decides to leave again for good "Standing". Tara arrives at the with Feeling and looks up information on the bramble, which confirms it is used in spells concerning memory alteration. Devastated, Tara sings her decision that her relationship with Willow should end. Giles' and Tara's songs merge into a duet about how much it hurts Buffy the Vampire Slayer: Once More leave, yet each knows they cannot possibly stay. With Feeling suddenly arrives with one of Sweet's henchmen, who reveals to them that Dawn has been kidnapped. Spike offers to back Buffy up, but she questions why he'd do that after saying he wanted her to stay away from him, so Spike skulks away, telling her he hopes she and Dawn burn. Buffy leaves alone, once again singing about her inability to feel, as both a conflicted Spike and the Scoobies express their desire to fight along with her, accompanied by Sweet, who summons them an ensemble song "Walk Through the Fire". Arriving at The Bronze, Buffy starts to sing and dance defiantly, expressing her current condition and the hardships of being the Slayer. Her friends arrive and provide back up dancing with her. Unable to stop singing, Buffy finally reveals to Sweet and her friends that, by resurrecting her, they had ripped her out of heaven. As her friends react in horror to the admission, she begins dancing wildly to the point of smoking in impending combustion. Spike suddenly arrives and holds her still, concluding the song telling her that the only Buffy the Vampire Slayer: Once More to mend her wounds is to carry on living "Something to Sing About". Applauding, Sweet prepares to leave with Dawn, who continues to deny that she summoned him. After he points out that she bears his talisman in a necklace, Xander confesses that he did it to cheer the mood, but did not expect the implications. This leads Sweet to decide to waive the clause of making Xander his queen. He then points out in a song that, because of all the hidden feelings he caused them to reveal to each other, none of them with Feeling claim "it ended well," daring them to say that they with Feeling really happy now "What You Feel Reprise". After Sweet leaves to " Hellsville ," the group performs together, questioning the costly victory they've achieved and what to do next "Where Do We Go From Here? Spike leaves the group in the middle of the song, but Buffy goes after him. Behind The Bronze, their previous songs merge as they sing to each other. They kiss, the curtains fall, and the chorus swells one last time "Coda". The episode soundtrack was composed by Christophe Beck and Joss With Feeling. This wiki. This wiki All wikis. Sign In Don't have an account? Start a Wiki. Do you like this video? This article is about the episode. For other uses, see Once More, with Feeling. Television Academy. Retrieved December 11, The Hugo Awards. Categories :. Cancel Save. Universal Conquest Wiki. Buffy: "I'm not exactly quaking in my stylish yet affordable boots, but there's definitely something unnatural going on here. And that doesn't usually lead to hugs and puppies. Anya: "It has to be stopped. It was like we were being watched, like there was a wall missing from our apartment. Like there were only three walls and not a fourth one. Anya: "Dawn may have had the wrong idea in summoning this creature. But I've seen some of these underworld child-bride deals, and they never end well. Maybe once. "Buffy the Vampire Slayer" Once More, with Feeling (TV Episode ) - IMDb From " Veronica Mars " to Rebecca take a look back at the career of Armie Hammer on and off the screen. See the full Buffy the Vampire Slayer: Once More. Title: Once More, with Feeling 06 Nov Sunnydale is alive with the sound of music as Buffy the Vampire Slayer: Once More mysterious force causes everyone in town to burst into full musical numbers, revealing their innermost secrets as they do. But some townsfolk are dancing so much that they simply burst into flames, and it becomes clear that maybe living in a musical isn't so great after all. Written by Alex. When I first saw it, I was mesmerised. I happen to like a lot of the songs Buffy the Vampire Slayer: Once More, especially Giles' 'Standing', which was beautiful and touching. Joss Whedon created a masterpiece in the form of with Feeling episode with his songwriting skills unexpected and its wonderful plot. Lots of shows have a musical episode, but they are VERY risky. When "Oz" did it, it was fabulous as well, but understandably it is an easy thing to mess up. This episode should be revered with Feeling remembered for what it is. Looking for some great streaming picks? Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist. Visit our What to Watch page. Sign In.
Recommended publications
  • An Analysis and Expansion of Queerbaiting in Video Games
    Wilfrid Laurier University Scholars Commons @ Laurier Cultural Analysis and Social Theory Major Research Papers Cultural Analysis and Social Theory 8-2018 Queering Player Agency and Paratexts: An Analysis and Expansion of Queerbaiting in Video Games Jessica Kathryn Needham Wilfrid Laurier University Follow this and additional works at: https://scholars.wlu.ca/cast_mrp Part of the Communication Technology and New Media Commons, Gender and Sexuality Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Needham, Jessica Kathryn, "Queering Player Agency and Paratexts: An Analysis and Expansion of Queerbaiting in Video Games" (2018). Cultural Analysis and Social Theory Major Research Papers. 6. https://scholars.wlu.ca/cast_mrp/6 This Article is brought to you for free and open access by the Cultural Analysis and Social Theory at Scholars Commons @ Laurier. It has been accepted for inclusion in Cultural Analysis and Social Theory Major Research Papers by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. Queering player agency and paratexts: An analysis and expansion of queerbaiting in video games by Jessica Kathryn Needham Honours Rhetoric and Professional Writing, Arts and Business, University of Waterloo, 2016 Major Research Paper Submitted to the M.A. in Cultural Analysis and Social Theory in partial fulfillment of the requirements for Master of Arts Wilfrid Laurier University 2018 © Jessica Kathryn Needham 2018 1 Abstract Queerbaiting refers to the way that consumers are lured in with a queer storyline only to have it taken away, collapse into tragic cliché, or fail to offer affirmative representation. Recent queerbaiting research has focused almost exclusively on television, leaving gaps in the ways queer representation is negotiated in other media forms.
    [Show full text]
  • A PDF Copy of This Issue of Slayage Is Available Here
    Slayage: Number Six Slayage 6 September 2002 [2.2] David Lavery and Rhonda V. Wilcox, Co-Editors Click on a contributor's name in order to learn more about him or her. A PDF copy of this issue (Acrobat Reader required) of Slayage is available here. A PDF copy of the entire volume can be accessed here. J. Gordon Melton (University of California, Santa Barbara), Images from the Hellmouth: Buffy the Vampire Slayer Comic Books 1998-2002 PDF Version (Acrobat Reader Required) Reid B. Locklin (Boston University), Buffy the Vampire Slayer and the Domestic Church: Re-Visioning Family and the Common Good PDF Version (Acrobat Reader Required) Frances Early (Mount St. Vincent University), Staking Her Claim: Buffy the Vampire Slayer as Transgressive Woman Warrior PDF Version (Acrobat Reader Required) David Lavery (Middle Tennessee State University), "Emotional Resonance and Rocket Launchers": Joss Whedon's Commentaries on the Buffy the Vampire Slayer DVDs PDF Version (Acrobat Reader Required) Recommended. Here and in each issue 1 3 of Slayage the editors will recommend 2 [1.2] 4 [1.4] [1.1] [1.3] writing on BtVS available on the Internet. 5 6 [2.2] 7 [2.3] 8 [2.4] [2.1] Robert Hanks, Deconstructing Buffy 11-12 9 10 [3.2] [3.3- [3.1] (from ) 4] Manuel de la Rosa, Buffy the Vampire Slayer, the Girl Power Movement, and 13-14 Heroism 15 [4.3] [4.1- Archives Andy Sawyer, In a Small Town in 2] California . the Subtext is Becoming Text (from ) Anthony Cordesman, Biological Warfare and the "Buffy" Paradigm" Paula Graham, Buffy Wars: The Next file:///C|/Documents%20and%20Settings/David%20Lavery/Lavery%20Documents/SOIJBS/Numbers/slayage6.htm (1 of 2)12/21/2004 4:23:36 AM Slayage, Number 6: Melton J.
    [Show full text]
  • The Role of Disability in Buffy the Vampire Slayer Amanda H
    CORE Metadata, citation and similar papers at core.ac.uk Provided by University of New Mexico University of New Mexico UNM Digital Repository Special Education ETDs Education ETDs 7-12-2014 The Role of Disability in Buffy the Vampire Slayer Amanda H. Heggen Follow this and additional works at: https://digitalrepository.unm.edu/educ_spcd_etds Recommended Citation Heggen, Amanda H.. "The Role of Disability in Buffy the Vampire Slayer." (2014). https://digitalrepository.unm.edu/ educ_spcd_etds/16 This Dissertation is brought to you for free and open access by the Education ETDs at UNM Digital Repository. It has been accepted for inclusion in Special Education ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. The Role of Disability in Buffy the Vampire Slayer i Amanda H. Heggen Candidate Special Education Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Dr. Julia Scherba de Valenzuela , Chairperson Dr. Susan Copeland Dr. James Stone Dr. David Witherington The Role of Disability in Buffy the Vampire Slayer ii THE ROLE OF DISABILITY IN BUFFY THE VAMPIRE SLAYER by AMANDA H. HEGGEN B.A. Psychology, Goshen College, 2001 M.A. Special Education, Univeristy of New Mexico, 2006 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Special Education The University of New Mexico Albuquerque, New Mexico May, 2014 The Role of Disability in Buffy the Vampire Slayer iii Acknowledgements The list of people who have contributed to this dissertation in many forms, from much-needed pep talks to intensely brilliant advice on how to present my findings, is epic.
    [Show full text]
  • Slayer and Signal: Joss Whedon Versus the Big Bads." Nerd Ecology: Defending the Earth with Unpopular Culture
    Lioi, Anthony. "Slayer and Signal: Joss Whedon Versus the Big Bads." Nerd Ecology: Defending the Earth with Unpopular Culture. London: Bloomsbury Academic, 2016. 145–168. Environmental Cultures. Bloomsbury Collections. Web. 2 Oct. 2021. <http:// dx.doi.org/10.5040/9781474219730.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 01:18 UTC. Copyright © Anthony Lioi 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 5 Slayer and Signal: Joss Whedon Versus the Big Bads In which I argue that Buffy the Vampire Slayer confronts the problem of world-destruction in a California haunted by demons that suburbia refuses to acknowledge. It is a work of advanced nerdism whereby freaks and geeks become aware of their capacity for self-and-world-defense. Here, nerd culture considers what new tropes, plots, and characters are necessary to resist the Powers of predation and eugenics. Buffy figures these forces as demonic Powers in the Pauline sense: the spirits of broken social institutions that attempt to destroy the nerd. Chief among these demons is Gender, the system of norms that dictates what good boys and girls must do to please the Powers. The story of the Slayer begins with a solitary female messiah doomed to destroy vampires and be destroyed in turn; it evolves into a narrative of alliance in which rejected children defend the world by moving into the queer, the uncanny, and the monstrous. Buffy’s creator, Joss Whedon, extended his exploration of the effluvial and the degenerate through his space Western, Firefly/ Serenity, in which a band of misfits uncovers a government conspiracy to hide the poisoning of a planet, Miranda.
    [Show full text]
  • Just One Kiss
    Just One Kiss Dawn Summers, sister to a Slayer, Key to God-knows-where portals, survivor of Sunnydale, hung up the phone and looked nervously around her bedroom. Well, not really bedroom - the room she was currently inhabiting in the motel that they were staying in, while Giles tried to find them a place to live. After the ‘End of Sunnydale’, as they had taken to calling it, and the deaths of some missed (Anya) and not so missed by anyone but one of the countless Slayers (Spike) people, they had all decided to stick together and continue to fight. Well, Buffy and Giles had decided to move to the new Hellmouth. Xander had shrugged. He had fought, or at least tried to fight, this long and wasn’t going to give up now. Andrew had decided to join them, figuring he could always go to college whereever they turned up – his SAT scores were so astronomically high he was looking at a free ride. Besides, he still felt he owed penance for his actions while with the Trio, and had become firm friends with Xander – once he had realized that, like Larry, he would have no chance of a romantic relationship with the one-eyed ex-carpenter. Willow, her pride in her spell that released all the potentials at an all time high, was the most eager to continue the fight. It had been another quiet conversation, when the others were all doing ‘something’ else, that had given Dawn the courage to action ‘The Plan’. She had asked him why he was still there, what reason he would have to put up with the crap he still got from his so-called-friends, who treated him like a doormat.
    [Show full text]
  • Joss's Jesus: Christ-Figures in the Whedonverses
    Joss’s Jesus: Christ-figures in the Whedonverses Joss’s Jesus: Christ-figures in the Whedonverses Melody Cook Deans’ Distinguished Essay Award recipient Abstract In the fifth season finale ofBuffy the Vampire Slayer (2001), Buffy sacrifices herself to save her sister (and the world) by leaping into a portal with her arms outstretched. In the final scenes of The Cabin in the Woods (2012), Marty refuses to die in order to save the world, instead watching as it crumbles around him. In the former, Buffy is an obvious Christ-figure, while in the latter Marty subverts the trope in his refusal to be a sacrifice. This paper explores the prevalence, meaning, and evolution of the Christ-figure trope in the works of Joss Whedon. Drawing from research in the fields of both Whedon studies and religion and popular culture, I define and set parameters for identifying Christ-figures before exploring the use of the Christ-figure in Buffy the Vampire Slayer. Finally, I briefly reflect on the question, what can we learn from the conflicted religiosity of the Whedonverses?. Middle Tennessee State University 19 Scientia et Humanitas: A Journal of Student Research he field of Whedon Studies is dedicated to the academic study of the films, television series, and comic books written, directed, produced,T and/or created by Joss Whedon, including such works as Buffy the Vampire Slayer, Firefly, and Marvel’s The Avengers. A significant number of books, articles, and conference papers focus on the works of Whedon. Whedon Studies scholar Rhonda Wilcox has coined the term “Whedon- verses” to describe Whedon’s variety of works.
    [Show full text]
  • Circumstantially Hurt.Pdf
    Disclaimer: THIS STORY IS COPYRIGHT © 2002-2021 BY MultiMapper. THIS STORY IS FULLY PROTECTED UNDER THE UNITED STATES COPYRIGHT LAWS © 17 USC §§ 101, 102(a), 302(a). ALL RIGHTS RESERVED. PLACING OR POSTING THIS STORY ON ANY WEBSITE, OR DISTRIBUTION OF THIS WORK IN ANY WAY (PARTS OR WHOLE) WITHOUT THE EXPLICIT CONSENT OF THE AUTHOR IS STRICTLY PROHIBITED. ANY AND ALL COPYRIGHT INFRINGEMENTS WILL BE PROSECUTED TO THE FULLEST EXTENT OF THE LAW. DISTRIBUTION FOR COMMERCIAL GAIN, INCLUDING, BUT NOT LIMITED TO, POSTING ON SITES OR NEWSGROUPS, DISTRIBUTION AS PARTS OR IN BOOK FORM (EITHER AS A WHOLE OR PART OF A COMPILATION) WITH OR WITHOUT A FEE, OR DISTRIBUTION ON CD, DVD, OR ANY OTHER ELECTRONIC MEDIA WITH OR WITHOUT A FEE, IS EXPRESSLY PROHIBITED WITHOUT THE AUTHOR'S WRITTEN CONSENT. YOU MAY DOWNLOAD ONE (1) COPY OF THIS STORY FOR PERSONAL USE; ANY AND ALL COMMERCIAL USE EXCEPTING EDUCATIONAL INSTITUTIONS REQUIRES THE AUTHORS WRITTEN CONSENT. THE AUTHOR MAY BE CONTACTED AT: [email protected]. BY CONTINUING TO READ THIS STORY, YOU ARE STATING THAT YOU HAVE READ AND AGREED TO ALL DISCLAIMERS FOUND ON THE DISCLAIMER PAGE WHICH IS USED TO ACCESS THIS STORY. IF YOU CAME FROM ANOTHER SITE AND DID NOT VIEW THIS PAGE, YOU ARE REQUIRED TO VIEW IT BY FOLLOWING THE NORMAL NAVIGATION STEPS FOUND ON BENT & TWISTED AT WWW.BENTANDTWISTED.US. FAILURE TO DO SO RELEASES ALL PERSONS AND ENTITIES ASSOCIATED WITH THIS STORY AND/OR SITE FROM ANY CONSEQUENCES OF YOU ACCESSING THIS STORY. This story is a work of fiction.
    [Show full text]
  • Slayage, Number 6: Locklin
    Reid B. Locklin Buffy the Vampire Slayer and the Domestic Church: Revisioning Family and the Common Good [1] “Does family conflict with community?” This is the question posed by Julie Hanlon Rubio in a 1997 Theological Studies article.[1] Drawing on a range of popular and academic writers, Rubio suggests that the typical answer is “yes.” She writes: Because family is viewed as a private association, social values are assumed to be an intrusion. Love and self-sacrifice are primary family values; justice and solidarity are not, because family is supposed to be primarily about relationships, and at most a place to prepare good citizens for the public sphere. The family, it is assumed, must first take care of its own, and this necessitates a certain withdrawal from the community.[2] Arguably, much popular film and television perpetuates such a division between family and community as independent, all-consuming, and largely incompatible ideals. On the one hand, we have numerous family-centered dramas that give little or no attention to obligations outside the extended household; on the other, we have the action-adventure hero, who either by chance or by choice leaves behind family to struggle for the common good. From the smoking ruins of Luke Skywalker’s homestead on Tatooine to the family bonds that alone provide transcendent value in films like Terms of Endearment and Steel Magnolias, one can discern a common thread that depicts the claims of family and of the common good as at least independent of one another if not downright contradictory. [2] Although one typical response to the question of family and community--both in scholarly and popular writings about family and depictions of it in the media--may support a necessary conflict between them, this answer has not gone unchallenged.
    [Show full text]
  • Buffy and Angel
    buffy and angel PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Fri, 01 Jul 2011 03:42:14 UTC Contents Articles buffy and angel 1 Buffy the Vampire Slayer (film) 1 Buffy the Vampire Slayer (TV series) 5 Buffy the Vampire Slayer (season 1) 25 Buffy the Vampire Slayer (season 2) 30 Buffy the Vampire Slayer (season 3) 37 Angel (TV series) 42 Buffy the Vampire Slayer (season 4) 58 Angel (season 1) 65 Buffy the Vampire Slayer (season 5) 72 Angel (season 2) 78 Angel (season 3) 84 Buffy the Vampire Slayer (season 6) 90 Buffy the Vampire Slayer (season 7) 97 Angel (season 4) 103 Angel (season 5) 110 Buffy the Vampire Slayer Season Eight 118 References Article Sources and Contributors 131 Image Sources, Licenses and Contributors 133 Article Licenses License 134 1 buffy and angel Buffy the Vampire Slayer (film) Buffy the Vampire Slayer Theatrical release poster Directed by Fran Rubel Kuzui Produced by Howard Rosenman Written by Joss Whedon Starring Kristy Swanson Donald Sutherland Paul Reubens Rutger Hauer Luke Perry Music by Carter Burwell Cinematography James Hayman Editing by Jill Savitt Distributed by 20th Century Fox Release date(s) July 31, 1992 Running time 86 minutes Country United States Language English Budget $7 million Gross revenue $16,624,456 Buffy the Vampire Slayer is a 1992 American action/comedy/horror film about a Valley girl cheerleader named Buffy (Kristy Swanson) who learns that it is her fate to hunt vampires. The original script for the film was written by Joss Whedon, who later created the darker and more acclaimed TV series of the same name starring Sarah Michelle Gellar as Buffy.
    [Show full text]
  • Buffy 5Th Season Transcripts
    Buffy vs. Dracula Transcript by Joan the English Chick <[email protected]> Transcriber’s Notes I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. Nomar the Wonder Kitty also helped, mostly by attacking the keyboard cable. Please feel free to link to this transcript. Please do not redistribute it, or post it on a website (other than the Psyche transcript site), without first emailing me. There were several instances during this episode where a line of dialogue was heard but did not appear in the closed captions. I have indicated this in the transcript by using underlines. I do this because I consider it interesting. If you don’t, please accept my apologies. I also apologize in advance for my lame transcription of the fight scenes. I don’t know the names of different punches and kicks. Use your imagination. Teaser Fade in on Buffy in bed. She closes her eyes, opens and snuggles up next to him, closing her eyes. them, fidgets, closes them, opens them. She looks at Wolf howl. Opening credits. Since it’s the sea- the clock, looks over to Riley who’s asleep next to her. son premiere I’ll point out that the cast is listed in Buffy frowns and gets up. the opening credits as follows: Sarah Michelle Gel- Cut to Buffy running through a graveyard, night. lar, Nicholas Brendon, Alyson Hannigan, Marc Blu- She’s chasing a vampire.
    [Show full text]
  • “Gay Now”: Bisexual Erasure in Supernatural Media from 1983 to 2003
    Journal of Bisexuality ISSN: 1529-9716 (Print) 1529-9724 (Online) Journal homepage: https://www.tandfonline.com/loi/wjbi20 “Gay Now”: Bisexual Erasure in Supernatural Media from 1983 to 2003 Ana Carolina de Barros To cite this article: Ana Carolina de Barros (2020) “Gay Now”: Bisexual Erasure in Supernatural Media from 1983 to 2003, Journal of Bisexuality, 20:1, 104-117, DOI: 10.1080/15299716.2020.1732258 To link to this article: https://doi.org/10.1080/15299716.2020.1732258 Published online: 09 Mar 2020. Submit your article to this journal Article views: 25 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=wjbi20 JOURNAL OF BISEXUALITY 2020, VOL. 20, NO. 1, 104–117 https://doi.org/10.1080/15299716.2020.1732258 “Gay Now”: Bisexual Erasure in Supernatural Media from 1983 to 2003 Ana Carolina de Barros Department of Psychology, University of Saskatchewan, Saskatoon, Canada ABSTRACT KEYWORDS Bisexual representation in media has historically lagged Bisexuality; bisexual erasure; behind gay and lesbian representation. Given that bisexual The Hunger; Buffy the people experience poorer mental health measures when com- Vampire Slayer pared to heterosexual and gay people, positive representation could have a significant impact on bettering bisexual people’s lives. Additionally, examining historical trends of bisexual rep- resentation may help us better contextualize the current state of bisexual representation. This paper conducts a thematic analysis of three bisexual women from two texts: Miriam and Sarah from The Hunger, a 1983 movie, and Willow from Buffy the Vampire Slayer, a 1997–2003 television show.
    [Show full text]
  • A Poststructuralist Analysis of Gender Roles and Identity in Buffy the Vampire Slayer
    The University of Maine DigitalCommons@UMaine Honors College 5-2013 Staking Out Gender: A Poststructuralist Analysis of Gender Roles and Identity in Buffy the Vampire Slayer Patrick Pittis University of Maine - Main Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Pittis, Patrick, "Staking Out Gender: A Poststructuralist Analysis of Gender Roles and Identity in Buffy the Vampire Slayer" (2013). Honors College. 100. https://digitalcommons.library.umaine.edu/honors/100 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. STAKING OUT GENDER: A POSTSTRUCTURALIST ANALYSIS OF GENDER ROLES AND IDENTITY IN BUFFY THE VAMPIRE SLAYER by Patrick J. Pittis A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Communication) The Honors College University of Maine May 2013 Advisory Committee: Diane M. Keeling, Ph.D., Associate Professor Communication and Journalism Kristin M. Langellier, Ph.D., Professor Communication, Women’s Studies Eric E. Peterson, Ph.D., Professor Communication, Mass Communication Jessica P. Miller, Ph.D., Associate Professor Philosophy David Gross, Ph.D., Interim Dean, The Honors College at UMaine Abstract My aim in writing this thesis was to show that, contrary to the underlying themes of most critical approaches to Buffy the Vampire Slayer, there is more to be gained by approaching the series from a poststructuralist, postmodern feminist perspective, an approach that is aligned with the works of Judith Butler and Michel Foucault.
    [Show full text]