“The show tries to offer its young female characters postfeminist identities that break down gender boundaries and hybridize gendered characteristics to produce new versions of power and heroism...being a woman involves work, work of constant self-(re)construction. Buffy's female characters are represented as always working in this way, whether to come to terms with power, or to maintain a "successful "good-girl" identity...”

“...Spike may be the most "hybridized" character in terms of gender, within the show he is presented until the last moment as a failure.”

“Transgressions is the attraction of any dead boy, but as with openness of other more minor characters, this functions both to enlarge and restrict their potential as alternative gender representations. Dead boys exist through binary opposition; they are always already Other”

“I suggest that across the seasons of Buffy there has been an increasing exaggeration of bad girls...In some ways, instead of challenging these stereotypes of bad girls, the show has emphasized them. This matches the development of the show's good girls.”

“Good partners offer the "reward" of romance, but these girls cannot have power and a successful relationship, partly because of the demands of serial narrative, but partly because they seek agency in their romance relationships”

“Spike is sensitive not only in that he is easily hurt but also in the "feminine" way of being attuned to situations, relationships, and underlying emotions, as his frequently perceptive comments demonstrate. this ability to articulate his emotions also explains why his character fits so well into "Buffy", a show that consistently values this trait...”

“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.”