Wall Bangers: Buffy the Vampire Slayer

  • "Summers Blood." All through season 5, it was repeatedly stated that Dawn was the Key and that there was something that she could do that no one and nothing else could. Then, at the last moment, it turns out that Buffy could take Dawn's place and die instead of her. This particular wall banger was lampshaded by Anya later when she admitted that she never got how the whole "Summers blood" thing was supposed to work; the scene moved on before anyone could try to explain it. Unfortunately, as much as Joss Whedon loves lampshading and winking at the fans, pointing out the plot hole doesn't make it less of a plot hole.
  • The entirety of season 6 and 7 are so riddled with them to the point that some fans don't acknowledge their existence.
  • "Normal Again". That is all.
    • The main reason being that it completely retcons what happened before Buffy came to Sunnydale by saying that she was put in a mental hospital after discovering she was the Slayer and trying to tell her parents about it. Not only does it make literally no sense whatsoever (Joyce would definitely have mentioned it in the season 2 finale when finding herself in the same situation) it also puts the previously realistic parent Joyce in a horrendously bad light.
      • While it could be argued that the mental hospital trip was part of the false memories to create Dawn, that just raises the question of why the hell the monks would give her such a traumatizing memory which then makes them look like massive dicks. Sure, give Buffy a seriously bad memory which never even happened for no apparent reason. Why not?
  • Tara's death has several:.
    • She was standing in the middle of the room on the second floor. Warren is firing from ground level, out in the back yard. Drawing a straight line from where Warren is standing to the entry point of the bullet (the bedroom window) leaves you with a trajectory that hits nothing except the bedroom ceiling. So either a sniper is framing Warren, or the bullet came through the wall (and down low on the wall, as in, somewhere barely above the floor) and not the window, or else we're dealing with a magical bullet that can make right-angle turns in mid-air. But we saw the killing from the bullet's POV in a flashback later on and the original scene explicitly shows a bullet hole in the window, and so we know none of these possibilities happened. Tara's death is literally impossible by the laws of physics, and there's no wizard that did it shown in-scene to excuse a violation of physics.
      • And still worse than that! In addition to the complete violation of Newtonian physics it would take just to get the scene this far, the bullet would then have had to make a second mid-air turn to explain why Willow isn't dead too — she was standing immediately in front of Tara, and we know the bullet exited the front of Tara's chest because only an exit wound could produce the blood spatter all over Willow's shirt.
    • Tara's death being the cause of Willow's Face-Heel Turn. Reducing such a beloved character and relationship to a Morality Chain and, indeed, Disposable Woman is appalling in itself.
  • Xander leaving Anya at the altar. Totally out of character and contrived for the sake of drama "draaaaamaaaaaaaaaa!".
    • The response — "OMG XANDER IS EEEEVIIIILLLL" — is no better. If you had just gotten mindraped, watched yourself become your worst nightmare, and finally murdered your lover, then you too might want to wait a while before marrying her.
  • Hey, Buffy just came back from the dead! She's back from endless torment in hell (or so we think)! Do we run to her and hug her like we would have in previous seasons, like when Willow was thought to be dead and turned out not to be in "Dopplegangland"? No! We stand there at a safe distance and talk about her like she's not there.
    • The entire series before and after this point insisted that death is magic-proof, and any attempt to bring a dead person back is doomed to failure or much worse. Buffy is the only exception. The "supernatural death" justification felt tacked on and hollow.
  • "From beneath you, it devours." No, it doesn't. It mostly annoys or Breaking Speeches you.
    • That phrase is talking about the Hellmouth, which does indeed devour Sunnydale.
    • Or as Andrew puts it, "It eats you starting with your bottom."
  • Giles suddenly leaves for England, comes back, leaves again, and then comes back... never mind that his reasons for abandoning Buffy are so out of character that Tony Head himself had issues with it.
  • Dawn continues to regress to an annoying child, making everything she says a Wall Banger. How does the entire cast of characters put up with it?
    • To drive the point home, by season 7, Dawn's main source of angst was that she wasn't special like Buffy. Special! She had her chance at that! Evidently the multiverse almost ending because of her isn't enough for her.
  • Willow hops into bed with the first annoying skank who shows interest in her despite being the character who'd be the least likely to do that and then subjects us to their annoying "relationship" for the rest of the season.
  • Willow's Anvilicious "magic addiction". This plot line could have been interesting ("power is addictive" + "power corrupts") and did start that way. Then came "Tabula Rasa." After that, it was played for full after-school-special camp, reducing Willow to a painful cliche.
    • For some fans of the character, Willow's Face-Heel Turn is heartbreaking Character Derailment.
    • Willow's considerable Badass Decay in the following season because she couldn't use magic for the better part of the season lest she become evil again.
  • Buffy and Spike's "love story," in particular the restructuring of the series to revolve around it.
    • The particularly mind-boggling thing about the Buffy and Spike relationship of Season 6 is that "Seeing Red," in which Spike is given a Rape the Slayer moment, was contrived by the writers because they thought the fans were starting to like Spike too much. They had given him a number of redemption moments in the previous two seasons, and so this was entirely their fault. Then they rolled a 1 on their Author's Saving Throw. Bang, bang, bang.
    • Buffy falling for Spike at all. First, Spike starts treating his love for Buffy as a real and pure crush and thinks that running Riley off is a good thing a year after being a persistent pain in Buffy's side. Then there are Spike's attempts to kill her, both before he realizes he has a crush on her and (worse) after he knows — he brings a shotgun to shoot her once but instead just sits beside her. By the end of Season 5, Spike has earned her respect; but she doesn't show any signs that she likes him, let alone loves him. This all immediately changes in Season 6, when they have a mutual Abuse Is Love relationship, which then evolves in Season 7 to where Buffy admits that she's developed feelings for him somewhere in between being punched, punching him, and having sex. But this was to show Buffy as physically and mentally weak in Season 6, which didn't help; and its being a positive relationship or negative relationship depending on the writer... yikes.
    • During Spike's "pep talk" to Buffy (about Buffy being right in her deplorable past behavior toward everyone), Spike offers to kill Faith for Buffy's sake. What!? A few episodes ago, Spike was crying over all the people he had killed now that he has a soul. Now he's casually offering to kill a good guy for the sake of his "romance" with Buffy! Spike's Badass Decay was bad enough — at least keep his characterization straight!
      • Buffy and Spike's chaste cuddling after that scene. Blech.
    • Several times prior to S6, such as in "Something Blue" and "Intervention", the concept of a Buffy/Spike relationship was Played for Laughs.
  • Angel's earlier characterization. It's borderline stalkerish.
    • And then we add pervert to the list when we find out that Angel first fell in love with Buffy when she was fifteen years old. It can be easily missed since Buffy doesn't look fifteen in the scene (Sarah Michelle Geller was about eighteen or nineteen at the time), but if you imagine a season 5/6 Dawn in her place...
    • In season one, Angel tells Buffy that dating a normal guy isn't good for her, since she could get the normal guy killed. Two seasons later, he tells her to move on and find a normal guy so she can have a normal life. Not only does the sudden turn-around make it look obvious that Angel is just frustrated that he can't sleep with her, but it makes you wonder whether Angel still knows that the first is true and that he's purposely manipulating Buffy to never have a happy relationship again...
      • The fact that Buffy listens to him. Everything that happened with Parker and Riley was because of that bad bit of advise. "Buffy, why do you keep trying with these normal guys?" "Because my ex-boyfriend told me to." WTF?
    • The fact that the writers kept on coming back to their doomed romance. Joss Whedon ended it with Angel losing his soul because he felt that their relationship couldn't go any further without it boringly fizzling away to nothing. He wrote it as an angst-ridden, drama-esque teen romance (like Romeo and Juliet) that worked for what it was in season 2 and should have gone no further. And yet the writers kept on coming back to it even after it should've been long over. The fact that both characters lose their well-earned character development whenever they're in the same room together doesn't help.
    • The entire Bangel plot of season three could've been shortened to two episodes.
      • Speaking of season three, we have "Amends". "Buffy, I want you so much that I don't care if I lose my soul and go on to kill all your friends!" "Oh, you must love me so much, Angel! Let's get back together!"
  • Buffy and Riley's entire relationship was just a bland, spark-less mess right from the start. Kudos to the writers for attempting to give her a normal relationship, but could they at least have given us a more interesting character? One who Buffy actually shares chemistry with?
    • It was the main reason so many people jumped on the Spuffy train, because unbelievable as it was at the time, it was far more interesting than Buffy and Riley together.
    • "Criley" could be Riley's nickname, what will all his issues he was going through (which he mostly blamed on Buffy or anyone else around him).
    • The fact that Riley blamed Buffy for not giving him enough attention when her mother was dying and a Hell-Goddess was after her little sister. Of course she should've forgotten all about her family and given him all her undivided attention, even after he fed himself to vampires which could've gotten him killed or turned! *slaps writers*
      • The fact that Riley had issues with Buffy standing on her own two feet without leaning on him completely missed the point of the "girl-power" angle the show had going.
      • The fact that the moment Buffy resolved to let Riley go (and justifiably so), Xander - having no clue what's been going on - showed up and convinced her to go after him. By calling Riley a "once in a lifetime" guy. Thanks for letting viewers know that "once in a lifetime" guys are ones who metaphorically cheat on their girlfriends just because they don't feel "needed" by them!
      • Riley's entire role in the show was to be "the boyfriend". Pretty much every line he had when he wasn't talking to Buffy, particularly at the start and the end of his character arc, was either talking about how incredible and amazing Buffy was or complaining that she wouldn't let him in (presumably because the writers felt it would appeal to the shows female fans to have a man who took the role of wanting more discussion of emotions and sharing of vulnerability in the relationship). In itself that's okay. It's a reversal of a common trope where the hero is a man and the love interest's role is to be "the girlfriend". However, normally the writers will expand on the female character, showing the man falling in love with her and giving the reasons for him to love her. Even if the love interest's character isn't the focus of the show, the audience can understand the appeal. Riley though really wasn't given any particular appeal other than being "not Angel" and "not Parker". For that matter, it was never really well established why he liked Buffy either (he was just shown to have been charmed by her in his early appearances and to think she was "weird" but it was never shown what he found charming or what was left after he got to know her). At least with Spike he was a developed character with enough emotion with Buffy to make a destructive romance believable.
  • The premise of this show is that vampires are bad. The protagonist of the show exists to kill vampires. It's in the title. Every vamp introduced on this show is dusted, no bargaining, no negotiation, no chance for redemption, no second chance; the idea that vampires might not be bad or might be able to improve or might redeem themselves is never mentioned. It is never ever suggested that you should have moral pause before staking a vampire. But the two biggest love interests in the show for our protagonist are both vampires! So, in the Whedonverse, every single vampire is totally and irredeemably evil... except the two that Buffy slept with? If we are allowed to sympathize with Spike and Angel, then Buffy might possibly be doing wrong dusting all the vampires that aren't in the main cast.
    • Almost justified with Angel: Buffy didn't find out he was a vampire until after she saw first-hand that he was on her side, and he had already shown qualities like remorse or concern for others. Oh, and she was already crushing on him. None of that applies to Spike. He had repeatedly tried to kill her; then he suddenly showed up wanting to kill her but being unable to due to external forces, and showing no remorse at all. He wasn't helping the Scoobies because he was trying to atone for his past sins — he wanted to kill things, and only demons were available. Somehow, he spent two entire years undusted before Buffy developed even the twisted semblance of feelings for him.
    • What's more, the reason Angel shows morality and compassion and such is that he's under a spell that returns his soul to him. When the spell is removed, even briefly, he becomes a ravening monster again. He's an exception to the rule regarding vampiric monsterhood for a specific reason. Spike just... was a popular character.
      • It could be argued that it's worse with Angel than it is with Spike. Angel doesn't learn to be good or learn what's right and wrong - he's forced to acknowledge it through the curse. Spike actually does learn it through tremendous amount of character development, even before he got his soul returned to him (which he got himself instead of being cursed with it). And yet up until that point Angel is treated like a saint (particularly by Buffy) and Spike is kicked to the curb.
    • It would have made a lot of sense to dust Spike in the early days when he got the chip. It was like not killing a serial killer who's hunting you because you've temporarily got him cornered. Eventually he did become a better character during season five (albeit depending seriously on the writer and the episode), even leaving flowers for Joyce without a card and choosing to sit and care for a distraught Buffy instead of trying to kill her. Any positive development however just underlines the fact that vampires ARE shown to be capable of improving morally if they don't have the opportunity to do evil things. Harmony comes across as at best mildly evil, particularly on Angel. That doesn't mean it's practical to attempt to give vampires counselling to make them better people rather than just staking them, but it does raise moral questions that were never really addressed.
      • Also with the chip, Spike is frequently described as a "serial killer in prison". When he tries to point out that it's the same with Angel, Buffy flat out refuses to acknowledge his words...despite the fact that he's got a good point. What does the chip do? Forcibly prevents Spike from doing evil. What does Angel's soul do? Forcibly prevents Angel from doing evil - with the added bonus of feeling guilty. Angel never asked for the soul; it was forced upon him. Take it away, and he turns back into a soulless killer. If you took Spike's chip away in later season 5/season 6 there's a chance that he could've at least tried to be a good person.
    • The problem with how they treat vampires is at least justified not only thanks to the Watchers, but even moreso when we learn the origins of the Watchers and the Slayers. Thanks to that, it's understandable that, while many vampires are evil, there are non-evil ones, and the Watchers just don't care. After all, when the Shadow Men created the Slayer line, it was to fight back against vampires when they were preying on humanity as the foot soldiers of the Old Ones, not so much as free agents. From there, it's Fantastic Racism at work. Also, a vampire is just a demon in a human shell, and there are plenty of non-evil demons. It's further explained that vampification pretty much just emphasises their pre-existing traits as a human. Liam was an asshole. Angelus was the biggest asshole. Darla was implied to be a prostitute, and was a skilled seductress and manipulator with vampification. When she was turned, Drusilla was insane. She got crazier. Spike was a hopeless romantic, awful poet and all around loser dork. Like a nerd with superpowers, he quickly went for trying to be the evilest guy around, but in the end, he's still a dork and hopeless romantic with superpowers. If the show was written today, you and I both know that he'd be complaining about Buffy "friendzoning" him. Finally, The Master's line is actually a different line of vampires, according to the EU, sired by a different Old One. Spike is only a few generations separated from their creator, unlike most, who are hundreds upon hundreds away. The Master was sired by an Old One, making him far more powerful than your average vamp, and his spawn still far above the rest. Sort of the difference between a purebred dog and a mutt.
  • Giles and his "act like a general" speeches from the last season. When Buffy makes the hard and unpopular decisions regarding Spike, Giles gets on her case for not making the decision that he wanted. But he was the one urging her to take command. If he was serious about it, then he needed to accept her decisions when she took command.
    • But that was somewhat justified - based on the past, Giles assumed she would make reasonable decisions to keep everyone safe. Instead, she let her screwed-up feelings for her murderer and attempted rapist ex-boyfriend cloud her judgment and put everyone in danger for her stupidity. Giles was right.
  • After two seasons about how Buffy is so Cursed with Awesome that she'd rather be dead than have to shoulder it, we're supposed to inspired and moved by her cursing thousands and thousands of other girls with her awesome.
  • Even "Once More With Feeling" has one: Xander summoned Sweet? It totally screws five seasons worth of Character Development for a quick joke? Especially since Xander already had one magic spell go terribly wrong on him ("Bewitched, Bothered, and Bewildered"), and seemed to have learned his lesson then. And even more especially because he told none of his friends what he did when the singing and dancing first started, when he must have known he was responsible for it.
  • "Get It Done". Buffy-Stalin calls a young girl who was scared out of her mind and who committed suicide a "weak idiot". We also learn that the Slayer's origins lie in rape. How charmingly sickening.
  • Buffy getting kicked out of her own house and having her dearest friends abandon her. Way to destroy True Companions, Joss!
    • Worse, it was Dawn who actually kicked her out, "because they needed to be united". The others were allowing her to stay, but telling her that her idea was bad.
      • Let's restate that for emphasis: The person Buffy died for kicks her out of her house, for having a difference of opinion.
    • And then, Buffy kicks some random guy out of his house and leaves him to fend for himself in the middle of the Hellmouth, at night. Why? Because "all the cool kids are doing it". For all we know, that guy never made it past the night.
      • Then Spike later enters the house without being invited in, handwaving it as because they're so close to the apocalypse. It's already been established in universe that one of the only times a vampire can enter a residence without an invitation is if the original owners are dead. Think about that.
    • Plus all the Scoobies wanted was proof that Buffy was right that there was something at the vineyard. Had she gone to investigate it, she could have come back with proof and launched the attack the next day with their full support.
  • If you stop and think about it too much, the idea Buffy was actually in heaven becomes a major Wall Banger, and that just makes her angst at the beginning of Season 6 into a Wall Banger taken Up to Eleven.
    1. She says she knew her friends were alright, even though they would have been killed that night if they hadn't brought her back.
    2. If she went to heaven and it is so much better than life, then that would mean that all the times she saved people's lives, they were worse off for it.
    3. Willow would be right at the end of the season that it would be better for everyone to die when she ended the world.
    • Actually, this is somewhat addressed in Angel. Buffy wasn't in heaven, she was in Paradise, a dimension supposedly only accessible to people chosen by the Powers that Be or die heroic deaths life Buffy did. We still don't have any information on where Joe Schmoe goes when he dies.
    • Admittedly, both problem 2 and 3 are a common critique of the idea of heaven in any religion.
  • Before all of that was Season 4's "Wild at Heart", which seems to give out the unfortunate message that men are animals and have no control over their sexuality. And should be held responsible for their sexual actions anyway.
  • Any episode written by Tracey Forbes. Apparently, she has a fascination with rewriting every character to be as shallow and two-dimensional as possible (the aforementioned episodes express the beliefs that every man wants sex, college students are walking hedonistic superiority complexes, and discarding grammar equates to "Buffy Speak"). In addition, they have heavy-handed moral proselytizing and a general vomit-inducing nigh-unwatchableness.
    • Likewise, episodes written by David Fury (apart from "Helpless" & "Fear, Itself") tend to get really ranty, especially when it comes to Buffy's love life. Just by watching his episodes you can tell that he really wants Buffy to have a normal relationship (despite the fact that the show already explained why this is a bad idea in episode five of the first season), thinks Riley is the best guy ever and utterly despises both Angel and Spike.
  • Riley and the Scoobies go out on patrol; he ends up ditching them because they hinder him. Granted, the Scoobies don't have his military training; but you'd think that spending years fighting beside Buffy would teach them such fine arts as not talking and yelling out loud while hunting.
    • On the other hand, he might have been wrong ditching them. They had much more experience hunting vampires than he did, and their continued survival meant their techniques worked for them. Vampires have abilities far beyond non-Slayer humans; perhaps the most useful way for such a human to help a Slayer is to seem like harmless bait.
  • Willow comforting Spike when he is unable to kill her in the episode "The Initiative". Due to the blatant sexual subtext the scene also had a heavy Black Comedy Rape element.
  • Season Three: Dead Man's Party. "Yes Buffy, we are all very aware that you are just sixteen years old and had to kill your lover - the man you lost your virginity to - in order to save the world, but running away was a stupid and selfish thing for you to do, even though it was your mother who told you not to come back in the first place and we haven't even attempted to talk to you about what happened or relate to you on any level." With friends like these...
    • Not to mention the argument never actually gets resolved. They yell at her, she yells at them, monsters arrive and are defeated, everyone hugs, everything's all better. Um, WHAT?
      • Symbolically it kind of makes sense. If the zombies are metaphorically past deeds coming back to haunt someone, then killing the zombies is metaphorically re-burying the issues, and being a superhero maybe all she really needed was to save people to get her head back on straight.
    • While the above most definitely holds a very valid point, these reactions to a runaway coming back home are more often than not Truth in Television, however sad. Their family will find it harder to trust them again. They may very well feel betrayed or abandoned, or think irrationally about the situation, or even demonize the runaway to ease the guilt they feel. It's not logical, or empathetic, but it is human, and extremely common in these kind of situations. What I liked about this episode is that both sides had a point. Joyce had a right to vent her feelings to Buffy, who, for all she knew for months, could have been dead. It's quite understandable for her to react that way. Buffy, on the other hand, had a right to stand up for herself and state why she felt she needed to leave, and that no one did try and help her. The real wallbanger of this episode was Xander being a complete and utter asshat, as per usual..
    • The worst part of the argument? They take Buffy's being forced to kill her lover and mock her trauma, downplaying it as "boyfriend issues".
  • Tara knew Buffy wasn't Buffy instantly back in "Who Are You", despite never having met her before, because 'her aura was wrong'. She knew that April was a robot, instantly, despite never having seen one before, in "I Was Made To Love You" - which makes sense, because robots presumably wouldn't have auras at all. And yet she can't spot the Buffybot in "Intervention"? It should have been obvious.
    • Tara only saw the Buffybot once in the episode it showed up for the first time, for not even a minute and after just being woken up. It still doesn't make that much sense after the aura thing, but that might be the excuse for why she missed it.
    • It's not just Tara. It was funny and refreshing when, after seeing April in action, everyone immediately agreed that she was a robot — you could appreciate that the episode wasn't going to make us wait twenty minutes while they figured that out. And a few episodes after that, the show decides it is okay to pretend these same characters wouldn't know a human from a machine that's not that great at passing for one, even though it's now trying to pass for their own best friend.
  • Faith was perhaps the most interesting character in the show, before she becomes a psychotic male raping Blood Knight who enjoys hurting people. Every Freudian Excuse and Hidden Depths in the book doesn't make her actions any more justified or any less Squick.
    • Though a lot of tropers decided it was worth the character derailment to watch her atonement in Angel, which provided some of the best episodes and most amazing moments.
      • Which leads right into another Wall Banger; notably, what they did to Faith's characterization after she left Angel and returned to S7 Buffy. Going straight from the Salvage/Release/Orpheus arc on AtS to what the Buffy show gave her to do (not much, and very little of it good, and what of it was good was still also being majorly second banana to Buffy instead of co-starring with Angel) was one hell of a whiplash.
  • You know, it would have been nice to establish that Olaf's hammer was a divine weapon before they needed it to be a divine weapon.
  • 'Some Assembly Required'. Even for Buffy, that one pushed it. There's no way two teens could do what trained doctors can't... ok, they can transplant hands and they're working on feet. But anyone knows that the head transplant would result in paralysis. Plus, there's no way all those cheerleaders were the same blood type and had compatible tissue, and even if they were, the boys can't exactly get antirejection drugs. It'd have been better if they'd used a spell along with all the science.
    • I always waved it away with the Hellmouth allowing stuff like that to happen - like allowing a student to create a Jekyll & Hyde formula, a swim coach to create better swimmers using fish DNA and the other numerous things that happened without being overtly magical/demonic in Sunnydale. For comparison look at Angel where the kind of dabbling in science you describe rarely occurs; even dabblers in petty magic are small compared to Sunnydale where they make a magic shop highly profitable.
  • Joss Whedon actually admitted that realised that Angel's curse makes no sense and used Jenny Calendar's uncle to try an Author's Saving Throw. Angel is cursed by having his soul restored, thereby having his conscience catch up with him for every evil thing he's ever done. OK, with you so far. But then one moment of true happiness undoes the curse and he's back to killing with impunity? It's lampshaded again by Holtz in Angel: "Gypsies have a knack for creative vengeance, but where they fail is in the execution of justice".
  • Season 1- "The Pack" Already a rather unenjoyable episode for the fact it has Xander being supernaturally turned into a sexist rapist and a messed up demonization of some faux-african religion. But... they picked HYENAS! Hyena spirits infect some boys and turn them into uber macho sociopaths. They could have picked ANY other animal and it would have made more sense!
    • For anyone who doesn't get it- hyenas are VERY matriarchal and have opposite sexual dimorphism and gender roles to humans, except even more exaggerated. Females literally have bigger penises. (Well, pseudopenises attatched to the vagina... they give birth through them. *shudder*) The only more unfitting thing they could have picked would be anglerfish! (Women are ten times the size of men and absorb multiple "husbands" into their own flesh like some sort of horror flick)
    • Also the hyena prop looks like a big black kitty sockpuppet. They didn't even try!
  • Whoever wrote Season 2's (which was a pretty damn awesome season in spite of this ) "Go fish" needs to be banned from writing. The strong implication that Buffy was going to be raped by the swim team, as well as her almost comedic response of "This'll do wonders for my reputation; doing it with the entire swim team!" was unfathomable and disgusting. Were we supposed to laugh? I saw nothing funny about that. At all. It's made all the worse by the ending, which just screams Black Comedy Rape, as well as the Unfortunate Implications that this was the swim team coach's just deserts for his actions. There is no doubt that he was a asshole, but to say he deserved to be raped is actually quite vile. And even if the guy needed to be locked in prison for a long ass time, Buffy just leaving him there and watching him with a faint look of dry amusement...
    • "Wow. I guess they really love their coach." *GAGS*
  • Xander treats all four of his respective love interests like shit 90% of the time. In fact, his verbal and emotional abuse of Cordelia and Anya in particular are Played for Laughs, even though Xander is a textbook example of an abusive partner. The way he treated Cordelia was disgusting.
    • Specifically after she caught him cheating with Willow. He tries to apologize to her at the hospital, but then by the very next day he's all "Oh God, why won't she get over it!" and starts mocking her like he used to do in season 1, except even more vicious. He acts as if he's justified to fight back because she was being rude to him after he cheated on her and she had every reason to be mad! While it's entirely believable for a seventeen-year-old boy to act like a moronic dudebro, and while Xander's actions do have consequences (in that every relationship he's ever been in has crashed and burned), its still no fun to watch.
  • Buffy's "Cookie Dough" speech in the season 7 finale. For the series finale of a show whose basic theme was 'adolescents facing adulthood', and the season finale of a season whose theme in particular was 'the younger generation rises up to take the swords', to have the heroine's triumphant denouement speech be about the deliberate avoiding of adult choices and the decision to remain in effective adolescence longer is not only jarring, but just plain stupid. She might as well have triumphantly announced that she's going to spend the rest of her life living in Giles' basement. To quote from a fan review posted on the Bloody Awful Poet Society mailing list back during original broadcast...
    LAWard: Buffy... okay she smiles. Who wouldn't? She's being told she no longer has any burdens or responsibilities and she's just been given the world by someone who loved her more than she's capable of ever loving in return. You've got to love a growing up story where you grow up to have LESS responsibility than you ever did before. Why couldn't *I* grow up like that? (Or maybe Joss was really serious when he said that Buffy's actions became some metaphor for stardom. That may explain the rationale for ever diminishing culpability and responsibility). Have fun in Disneyland, Buffy. I won't be missing you.
    • The part where the "Cookie Dough" speech also meant that the creator was solving the ongoing Ship-to-Ship Combat, which the show had gleefully exploited whenever possible for increased heat and ratings for the past seven seasons, with a Ken Akamatsu-style "No decision! No resolution!" in the final episode also left a lot of people feeling really frustrated. Regardless of individual opinions on who Buffy should have ended up with, even if your choice actually was "None of the above", we can all agree that a deliberate massive build-up to a total anticlimax is dramatically unsound.
  • The plan to expose Faith in Season 3's "Enemies" apparently involved punching out Xander and leaving him unconscious in the street at night. It's amazing the next episode didn't involve Buffy staking a turned Xander.
  • One for Kennedy in the comics. There's probably a few for her in the comics but during the series when Willow was upset about Tara's death and grabs a gun she's immediately sympathetic and Talking Down the Suicidal...homicidal. However during Anywhere But Here a line is added in the motion comic when Kennedy guesses that Willow is upset over Tara's murder.
    You know when I said I was open to a threesome I imagined something more fun.
    • Wow. Really? Your girlfriend is upset over her previous lover and you are so insensitive as to make such a Jerk Ass Kick the Dog comment? Willow's fears of going dark are long gone since she didn't react by Flaying Alive.
  • The entire finale falls under this category. For a supposedly feminist series, over time the show had fallen very much into the belief of “physical power” equals “strength”. Though starting out as an intelligent character (albeit with some teenage angst) who tended to take down more powerful enemies with help from her friends and with her natural resourcefulness, in later seasons as Buffy’s leadership abilities deteriorated her role in the series went from “she’s the leader because she has that something special the slayer possesses” to “she’s the leader because she’s got the biggest muscles”. Initially the Potentials served as a sort or antidote to this having been explicitly stated to be young women with the same greatness in them as a slayer even though they didn’t possess the slayer strength. Then when they finally came to the finale and had a chance to demonstrate that greatness, they were all given slayer strength to fight with instead. Meanwhile, their actions didn’t really do much of anything. They just fought with the bad guys for a while who would have been destroyed when the Hellmouth was. In fact the only character who really made a difference in the end was Spike. The only reason he was able to make a difference was that that amulet closed the Hellmouth. Our heroes didn’t even fight or struggle to track the amulet down. It was just sent to them, a gift from the villains of another series. Who are the final heroes of Buffy the Vampire Slayer? Wolfram and Hart.
  • "Out of My Mind". Buffy goes to Spike in order to convince him to help her find Riley. Let's repeat that: She goes to Spike, the vampire who hates her, in order to get him to help her find Riley, who Spike hates as well (and also blames for the chip in his head), expects Spike to find Riley, someone who Spike can't defend himself against and take him to the hospital (the last place Riley wants to be) and also tells him about the Initiative doctor being in town (i.e. someone who may know how to get Spike's chip out). And as added fuel, she rips up the money she was offering him. How the flying hell did she expect that not to blow up in her face?!