“When your mom noticed me watching a Buffy rerun on the little TV on the doorman desk one slow night on the job, she admitted that watching Buffy was her shared solace with you after your dad left. She told me how you cry and cry for Buffy. You cry when Angel shows up to be Buffy's prom date even though they'd already recognized the futility of their true love and broken up. You cry when Buffy's mom is taken away by natural instead of supernatural causes. You cry when seasons six and seven really don't reflect the quality of seasons one through five except for the musical episode.”

“And that's when I realized that there's really two ways people cry. You cry when you're sorry for yourself, and then you cry when you are really sad. The tears you cry for yourself? Those are kid tears. You're crying because you want somebody to help you or pick you up. Your mom, your dad, the old lady next door... anyone.”

“Using supernatural beings to build the perfect weapon? Intriguing idea.""Not really," I said. "They did it on Buffy the Vampire Slayer. A sub-par season. I slept through half the episodes.”

“The 'sitch'? Did you watch that Kim Possible movie again? You know it only makes you sad that you don't have a naked mole-rat of your very own.''One, I've been watching Buffy, not Kim Possible. And two, it is so not fair that Dad won't let me get a Rufus when he lets Angel keep that stupid turtle.”

“Mom's crying a bit, quietly, the way she always does. She never utters a sound even when she's crying, and that makes me a little sad. Doesn't seem right. When you cry, people should hear you. The world should stop. I squeeze Mom's hand and she squeezes back. I don't say anything, but at least she knows I've heard her. (Going Bovine)”

“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.”