Nevertheless, one of the most discussed topics in this area - the loss of virginity - is something which concerns nearly every adolescent. Buffy the Vampire Slayer addresses this concern through a number of techniques and viewpoints. This is demonstrated humorously in “Bad Eggs” (2.11):
Mr Whitmore: Sex. The sex drive in the human animal is intense. How many of us have lost countless productive hours plagued by unwanted sexual thoughts and feelings?
Xander: Yes!
[raises his hand and nods]
Mmm-hmm.
Mr Whitmore: That was a rhetorical question, Mr Harris, not a poll.
However, the contradictory attitudes are not necessarily negative. Sex and sexuality is a complex topic, the significance of which lies with the morals and values of the individual. Buffy the Vampire Slayer, in a number of ways, declines to discuss the values which its characters face in the choice to engage in intercourse. Willow is reportedly Jewish, yet this does not seem to play into her decision to lose her virginity to her boyfriend Oz in “Graduation Day (Part One)” (3.21). In fact, her changing values as a result of her delving into witchcraft are never discussed in the light of the Jewish values one assumes she has been brought up with. The main virtue of Buffy the Vampire Slayer’s approach to adolescent sexuality is its versatility; it does not pick one moral code to which all its characters automatically conform. The circumstances and reasons for the initial sexual encounters of the show’s three adolescent protagonists are each different, reflecting their values and individual circumstances.
One of the most prominent stories authority figures use to attempt to discourage young girls from intercourse is of the treacherous male who uses words of love to get a girl into bed, only to discard her the next day. Buffy the Vampire Slayer takes the story of the sexual monster and alters it to fit the shows underlying premise, that “high school is hell,” interpreting the statement literally and displaying the stock character of the uncaring male as a literal monster. The bestial nature of Angel’s sexuality is apparent from the show’s earliest episodes; in “Angel” (1.07), upon giving in to his urges and kissing Buffy, he growls and pulls away - the audience, as well as Buffy herself, realising from his monstrous visage that he is a vampire. His sexual desire, in all its animalism, is displayed as representative of the true nature which he has attempted to disguise. The notion of bestial sexuality, however, truly comes to fruition when Buffy and Angel engage in intercourse for the first time together; in Buffy’s case, for the first time ever. The act itself is depicted as a flashback utilising flash shots, silhouettes and black shading over red tinges; the only body parts shown are hands, backs, and lips, emphasising the sensuousness and passion of the moment. The flashback is shown after Angel’s dismissive treatment towards Buffy, and works as direct juxtaposition; the loving male of the night is contrasted with the indifferent Angel of the morning. The audience is aware that Angel has reverted to his “true” nature of the evil, sadistic Angelus. Having lost his soul, he is unable to feel love or remorse and is repelled by these feelings, choosing to hurt whoever “made [him] feel like a human”, as to such a creature, “that’s not the sort of thing you just forgive”. The comment which the composers make on adolescent sexuality is complex. However, on a surface level, it is easy to see the events of “Surprise” (2.12) and “Innocence” (2.13) as a condemnation of adolescent sexuality. Although Buffy turned 17 in “Surprise”, and was well within her legal rights to consummate her love with her boyfriend, she does not experience any kind of positive result. In a number of ways it appears that she is being punished for daring to explore her sexuality, which is a typical feature of the horror genre. However, the metaphor which plays throughout much adolescent-targeted media that a man may be loving and kind one day and a cold, distant monster the next is manifested in the literal sense. As she is told that the “happiness” she has granted Angel has caused him to lose his soul, she is forced to feel shame for the act of love she has committed, thus subscribing to the “whore/Madonna” binary, whereby sexually active women are condemned whereas men are considered “champions”. Angel, on the other hand, is not punished. Rather, as the evil Angelus, he appears liberated from the moral burdens that had plagued him from the moment he appeared on the show and for the first time, is a playful, sadistic character.
The costuming decisions express the emotional separation of the two characters after intercourse. Buffy’s pain is evident through her subdued dress and the defensive, cross armed stance that she adopts through much of “Innocence”. In contrast, Angelus is costumed in leather, symbolising the emergence of his sadistic tendencies. It appears that the composers are ultimately condemning the exploration of adolescent sexuality in any form through the punishment of Buffy. Despite this appearance, the comment which they are actually making is far more multifaceted, reflecting the true complexities of adolescent sexuality. The following exchange between Buffy and her father figure Giles after he has learnt the reason for Angel’s change demonstrates this complexity:
Buffy: You must be so disappointed in me.
Giles: No. No… I'm not.
Buffy: But this is all my fault.
Giles: No. I don't believe it is. Do you want me to wag my finger at
you and tell you that you acted rashly? You did. And I can. But… I know
that you loved him. And... he... has proven more than once that he loved
you. You couldn't have known what would happen. The coming months… are
gonna be hard... I suspect on all of us, but... if it's
guilt you're looking for, Buffy, I'm not your man. All you will get
from me, is my support. And my respect.
Despite any moral stereotypes which would normally dictate disappointment and reprimand coming from the father figure, Buffy is not made to feel guilt by any admission other than her own. Essentially, the complexities of adolescent sexuality and the extent to which gender stereotypes are entrenched in society are revealed through the Buffy/Angel story. The female, Buffy, feels guilt because she is supposed to; essentially her notions of gendered morality dictate her reaction to her sexual dilemma. In contrast, Giles, the adult, refuses to subscribe to these notions of gender morality. The intention of the composers seems to be to demonstrate a number of complex things. As the relationship between Buffy and Giles is one based on trust and understanding, they have what is essentially depicted as the ideal father/daughter relationship. When Giles rejects the notion of moral absolutism in how he reacts to Buffy’s decision, and instead places her actions within their appropriate context, the composers plainly cast aside the concept of right and wrong as being unambiguous entities. This follows a pattern found throughout Buffy the Vampire Slayer, not only in regards to sex and sexuality, but also to the moral ambiguity associated with many of the show’s major characters.
The manner in which Xander loses his virginity in “The Zeppo” (3.13) is different in a number of ways to the Buffy/Angel/Angelus storyline. Rather than losing his virginity in a moment of love and tenderness, Xander is used by the libidinous Faith. She is painted as the seductress:
Faith: You up for it?
Xander: Oh, I’m up. I’m suddenly very up. It’s just, I’ve never been up with people before
Faith: Just relax and take your pants off.
[She throws him onto the bed]
I’ll steer you around the curves
Similarly to the only other sex scene in Buffy the Vampire Slayer at that point, the act itself is depicted as largely sensuous. However, in contrast to the intercourse in “Innocence”, the camera draws back, giving an overall picture rather than suggestion. This contrast serves to show the different intimacies of the moments, suggesting that while the Xander/Faith union seems to indicate an emotional connection, the surface ultimately belies the reality. This is cemented in the juxtaposition of two consecutive images, firstly of the two facing each other, sensuously stroking their faces, then of Xander being shoved out the door, followed by his clothes, Faith bluntly saying, “That was great. I gotta shower.”.
The experience/inexperience dichotomy, however, is handled differently within the two storylines. Whilst Buffy is never overtly condemned for physically manifesting her love for her boyfriend, Xander is depicted as foolish and deluded about the impact of the intercourse upon Faith. He represents the immaturity that automatically links physical connection with the emotional, in contrast to Faith who “doesn’t take the guys she ‘connects’ with very seriously”. This is also demonstrated by the importance which Xander places on the act itself when he states ironically that “I’m seventeen - looking at linoleum makes me think about sex.” In his efforts to discover his role both in the world and within the Scooby Gang, Xander asks the question “What do I have?”. By the end of his search, he has saved the world from an apocalypse, yet his train of thought is constantly interrupted by his obsession with the act of sex and the effect it has had on his psyche. This is made clear through the vocalisation of his (often inappropriate) thoughts: “[They’re] long gone. Probably loaded with supplies. Gotta think. I can’t believe I had sex. Okay, bombs. Already dead guys with bombs,”. It is clear that Xander subscribes to the culturally entrenched perception of virginity as a male burden, one that he must be relieved of before truly becoming a man.
The stereotypical gender roles are reversed as it is the female who demonstrates a marked lack of emotional concern and connection with her partner. This reinforces the challenging of gender boundaries which the show espoused from its beginnings: in the opening moments of “Welcome to the Hellmouth” (1.01); “we are shown two teens breaking in - a pretty, stammering, demure little blond named Darla following a teenage boy who clearly hopes to ‘take advantage’ of her. . . It is this little pleat skirted cutie who will eat the boy alive”. The composers of Buffy the Vampire Slayer thus demonstrate the dilemma for adolescents; whether they conform to or challenge gender stereotypes the consequences of sexual activity are potentially negative.
However, the exploration of sexuality by Buffy the Vampire Slayer’s adolescent characters is not exclusively painted as a negative thing. When Willow and Oz, two of Buffy’s close friends, consummate their relationship in “Graduation Day (Part One)” (3.21), they do not experience any repercussions as a result. It is painted as natural for them to engage in intercourse, suggesting that adolescent sexuality does not always have to result in negative consequences, especially if the relationship is a loving one. This comment is rarely made by extremists such as “Straight Talk Australia” who spout such slogans as “Your words may say NO, but your dress says YES!”. Rather, the ideas espoused by those who preach total abstinence are debunked. Neither are punished for their act, in fact, the act is suggested rather than shown. After Oz is shown “panicking”, the couple are shown hugging.
Willow: I feel different, you know . . . It was nice . . .was it nice? . . . Should this be a quiet moment?
Oz: I know exactly what you mean. . . everything feels different.
The fact that the act of intercourse itself is never actually depicted (in contrast to the experiences of Buffy and Xander) suggests that the composer has eschewed the “typical” sexual experience in favour of a perhaps more realistic approach. This is furthered in the fourth season of the show in which the protagonists attend the Sunnydale campus of the University of California (U.C. Sunnydale); as Willow and Oz are shown in bed together, there is no fanfare; the composers are making no point other than sex is natural for couples, especially those in long term relationships. This is demonstrative of the liberal attitudes of the composers towards adolescent sexuality. In a previous episode Willow had attempted to use her sexuality in order to gain her boyfriend’s forgiveness for her indiscretions:
Willow: Well, we’re alone, and we’re together. I-I just wanted it to be special.
Oz: How special are we talking?
Willow: Well. . . We’re alone and we’re both mature younger people, and, and so. . . We could . . . I’m ready to. . . With you. (whispers) We could do that thing.
When Oz refuses her advances, saying “I want it to be because we both need it for the same reason. You don’t have to prove anything to me,” the mature nature of their relationship is demonstrated. Rather than relegating their relationship to the role of irresponsible teenagers, the producers of Buffy the Vampire Slayer have subverted the stereotype, allowing for the portrayal of a positive adolescent sexual exploration.
The representations of sexuality within Buffy the Vampire Slayer are bound largely to the gender of their characters. The term “gender-based sexuality” is deceptive as it does not refer exclusively to the sex of the person in question. Rather, it considers the overall behaviour and demeanour of its subjects, including their moral responses. The idea that overall gender perception may be shaped by the approach to moral dilemmas is backed by Harvard psychologist Carol Gilligan who deduced “a striking correlation between gender and moral orientation. . . [She] discovered two approaches to moral life, the ‘justice’ and the ‘care’ perspective that are connected to the two genders, masculinity and femininity”. This relationship is especially evident in the dynamic between the two slayers in Buffy the Vampire Slayer’s third season. The introduction of the second slayer Faith in “Faith, Hope and Trick” (3.03) signalled the first time that the boundaries of gender response and interaction had ever truly been challenged in the show. The binary opposition of the two was made apparent from Faith’s first appearance - where Buffy was bound by the institutions of school and home, Faith seemed happily alone in the world, and, perhaps more significantly, openly sexual where Buffy was subdued. This is depicted effectively in one of the initial encounters between the two:
Faith: Isn’t it crazy how slaying always makes you hungry and horny?
(Oz, Willow, Xander and Cordelia look at Buffy in interest)
Buffy: Well… sometimes I crave a non-fat yoghurt afterwards.
Throughout her adolescence, Buffy is taught to equate sex with punishment. This is initially demonstrated in “Innocence”, and further developed in “Becoming Part 2” (2.22), in which she is forced to finally kill the monster she believes she has created through her sexuality. It is suggested through the phallic symbolism of the sword which she runs
through her lover’s chest that she is unable to seize control of her sexuality without hurting the ones she loves. Later on, in “Graduation Day Part Two” (3.22), where she beats her dying lover into submission and forces him to “drink”, it becomes apparent that she is again being punished for her sexuality. She is weakened as the male grows stronger; the sexuality in the moment is apparent as she moans and falls to the floor, her hand squeezing tightly, wrapping her legs around Angel, signifying the orgasm. Later, whilst recovering in hospital, this sexual punishment is furthered by the grief-stricken ranting of the Mayor, referring to her as “your little whore”. The comment which the composers are making regarding adolescent sexuality remains complex; on one level it appears to be pure condemnation of Buffy’s attempts to explore her sexuality; on the other hand this does not always apply, suggesting that personal responsibility cannot always correlate with sexual freedom. Her first attempt to explore her sexuality outside of her doomed relationship with Angel reflects the metaphorical representation of the overnight change of the man into the monster. After sleeping with frat-boy Parker in her first few weeks at college, she is told that “Absolutely. I’ll give you a call”, chillingly reflecting Angelus’ sardonic statement in “Innocence” that “Sure. I love you. I’ll call you”. Later, upon confrontation, Buffy is told that (despite Parker’s intimate and seductive behaviour all week) that
Parker: It was fun. Didn’t you have fun?
Buffy: Is that all it was?. . . It seemed like you liked me
Parker: I do. . . But you felt what? Some kind of commitment?. . . I thought things were pretty clear.
Essentially, as an adolescent, Buffy is unable to explore her sexuality without either emotional or physical punishment (or both) as her sexual actions are seen to underlie the responsibility she faces. In juxtaposition, Faith (the binary opposition; the ‘other’ of the pair) is depicted as able to indulge her sexuality without consequence. This further espouses the underlying beliefs of the whore/Madonna dichotomy whereby the saint, the ‘light’ is liable for punishment for breaking out of her prescribed patriarchal role, in opposition to the ‘other’ or the ‘whore’ who can act on her desires without further punishment. Whilst both slayers are in roles of responsibility, Buffy is seen as having to sacrifice a number of things to maintain her prescribed role, in opposition to Faith who is “livin’ large” and tells Buffy to “find the fun”. Their approaches to their duties polarise them, although the lines which separate them is often blurred, specifically in “Bad Girls”. (3.14). Faith is depicted as the “other” - her “unambiguous (and very self conscious) pursuit of pleasure above all other things makes her the perfect illustration of eudaimonist ethics. She, unlike most characters in the Buffyverse, knows exactly what she wants and has no qualms about pursuing it”.
The complexities of adolescent sexuality are depicted in Buffy the Vampire Slayer through both literal representation and metaphor. Essentially, the show neither condemns nor celebrates the sexual activities of its adolescent characters. Rather, it attempts to show the complexities involved in the sexual awakening of adolescence through addressing the stigmas associated as well as how gender roles play upon this sexuality. The values espoused by the composer are not exclusively communicated in the show’s depiction of adolescent sexuality; rather there is an obvious attempt to convey the numerous issues which arise across the board. There is no one value held by the show’s main characters; their exploration of sexuality is entirely individualised. The use of stereotypical binaries when coupled with complex, intricate character formations and depictions strengthens Buffy the Vampire Slayer’s portrayal of adolescent sexuality.
The main value of this approach is that it allows thorough investigation of the complex subject rather than relegating adolescent sexuality to stock roles. The gendered representations of characters is multifaceted; although the whore/Madonna binary is referenced often in Buffy, the Vampire Slayer, the composers attempt to extend their investigation beyond this simplistic depiction. Gender roles are challenged and reflect the adolescent struggle to identify themselves within their changing sexual roles. The sexualities of the characters are well developed, intricate and believable, challenging the show’s relegated status of “low culture” drama. By not adhering to any one set of values, the composers have communicated the true complexities of adolescent sexuality.
