“Throughout the relationship Spike has ignored Buffy's denials, even though it was fairly clean that Buffy's "no" didn't mean no and ambivalent scenes such as this paved the way for the "real" violence of the attempted rape...there are strong links between love, sex, and violence, and Spike uses romantic heterosexual love as a "defense" of sexualized violence.”

“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.”

“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...”

“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.”

“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.”

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

“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...”