This guest post written by Lisa Ward appears as part of our theme week on Bisexual Representation. When Buffy the Vampire Slayer first aired, it was considered to be a groundbreaking, feminist television show. Its nuanced portrayals of girls and women stood out in a genre where girls and women were generally portrayed as one-dimensional victims, not three-dimensional heroes and villains. And for a generation of young people myself included , this representation was vital and growing up with Buffy had a lasting positive impact on their lives. It is this final topic — bisexuality and bisexual characters — that I want to explore. While bisexuality is also inclusive of people outside of the gender binary, I will be primarily using the term bisexual, rather than related terms, such as pansexual, as the Buffyverse does not seem to recognize the existence of more than two genders except perhaps in its non-humanoid characters. I can see merits in all of these arguments. Willow was deeply attracted to and formed physical relationships with men before meeting Tara Amber Benson and coming out as a lesbian. It is these plot points that tend to lead to accusations of bisexual erasure for the character of Willow Rosenberg. For example, sexual identity is about more than just sexual attraction.
Exploring gender, race, & sexuality in geek culture
Queer Eye: Pearls Of Queer Wisdom
Carroll appears as part of our theme week on Bisexual Representation. The conversations range from the creepiest monsters to the most empowering moments of feminism the series has to offer. One of the staying discussions regarding Buffy the Vampire Slayer has been the queer identities of its characters.
What this also does for the creators of the show is to make it easier to approach more controversial issues such as sexuality, from the burgeoning sexuality of high school students to relationships between adults and between humans and vampires. One point of interest throughout the seasons is the sexuality of the third Slayer Faith Lehane, called up after the murder of Kendra side note on Slayers: when a Slayer is killed, the next in line is called up. On the flip side, the show demonstrates sexuality in a very different way in terms of Willow Rosenburg, who goes through four major relationship during the course of the show, two of which are with women see my earlier article on Willow. The reason that this is problematic is that it ignores the two previous relationships that Willow had with men, both of which were emotionally and physically strong. One possible reason for this representation is that there is a certain stigma about bisexuality that was okay for Faith of the Questionable Morals, but not okay for one of the Scooby Gang. The secret jealousy that colors the relationship between Faith and Buffy also lends itself to the idea that Faith has feelings for Buffy, a result of her envy and adoration of the young woman.
Hey weirdos! Dollhouse ended this past Friday and I am all torn up about it for a few reasons, mostly because the finale introduced some pretty amazing elements that really really SHOULD have been thrown into the mix at the beginning of the season. The Whedon Effect: n. When Joss Whedon creates a television series loaded with potential then spends so much time building up to a big spectacular climax see: Buffy The Vampire Slayer series finale that the show gets canceled due to the appearance that the show is not going anywhere before viewers get to see the aforementioned big spectacular climax see: Firefly, Dollhouse. I have a lot of feelings about The Whedon Effect. I fully believe that if Buffy had been written in the last couple of years, it would not have lasted seven seasons like it did in the mid-late nineties. Back then, Whedon had the time to spend several seasons creating a whole world and fleshing out a large cast of characters because there was no other show like it on television, no competition.