“The display of Angel's body and the sexual reaction it provokes lead to the revelation of his vampire nature: as he kisses Buffy, he shows his vamp face (a displaced manifestation of male desire?). The tension inherent in this display of the masculine body is that it actually has the effect of feminizing the character by positioning the male as sexual object to be looked at.”

“Thus angel embodies neatly the idea that "the muscular body functions as a powerful symbol of desire and lack." Angel is manly but not a man, and his display of masculinity points to the ambivalences that surround gender.”

“No one stops to question why boys are never the objects of the gaze; why, if being on display is so empowering, males don't embrace this form of sexual expression, too.”

“The beatings are further proof that Spike's "humiliation," the level to which he has sunk, and a physical sign of vulnerability. But they are also "sexy wounds" (as Buffy playing Robot-Buffy says in "Intervention"), since Spike's body is displayed to be looked at. Further, as with Angel and Dru, Spike and Buffy's relationship uses pain/violence as eroticism (when Spike tells Buddy "I love you," she responds "You're in love with pain" ["Smashed"]). Mulvey's association of voyeurism, sadism, and narrative is useful here.”

“By the end of the seventies the feared yet desired black male body had become as objectified as it was during slavery, only a seemingly positive twist had been added to the racist sexist objectification: the black male body had become the site for the personification of everyone’s desire.”

“Roarke's brow cocked as he noted Casto take in the black satin that slithered over Eve's body. In the manner of men or unfriendly male dogs, Roarke showed his teeth.”