And yet they still love each other, much to their mutual disgust and despair. But she kills him as a sacrifice to save the world, not as an execution to punish and reject him, something that Whedon makes clear by transforming Angelus into Angel before she strikes (Whedon, “Becoming Part II).
Angelus is riddled with love for her, and because of that he is driven to destroy her; as he tells Spike in “Innocence”, “To kill this girl . When he comes back from hell, tortured for a century until he is only slightly above a beast, he still loves her and saves her instinctively, just as she loves and protects him even though his mind is gone (Noxon, “Beauty and the Beasts”).
Joy is physical pleasure or emotional connection, great kisses or moments when eyes meet across a room in perfect understanding.
Pain is stress, danger, jealousy, the reason for war romances and office affairs.
because it’s the only show on TV that gets the dynamics of falling in love right most of the time.
Whedon and his writers seem to have an instinct for the messy part of romance, the off-the-wall, over-the-top, why-am-I-doing-this?
The second season brings the real test: in one of Whedon’s blatant, powerful metaphors, Buffy loses her virginity to a loving, sexually skilled Angel and wakes up with the murderous beast, Angelus.
It’s easy to love Angel, he meets all the conditions for it, he completes Buffy.He’s strong (he can hold his own with the Slayer), he’s smart (he knows the evil world she must learn in order to fight it), he has a mordant sense of humor (even more effective because Angel is not a happy man), and he’s physically attractive, or as Buffy puts it after she first meets him in “Welcome to the Hellmouth,” “Dark, gorgeous in an annoying kind of way” (Whedon 44).Once assumption is made, the second stage or Attraction begins, finding out if this is somebody who be loved.insanity that makes love such a pain in the neck, whether somebody’s biting you there or not.The reasons for this are many and varied, and all the more telling when the people at Mutant Enemy get it wrong. Buffy has had three loves in her seven-year fight against the Hellmouth, and three of these relationships followed the basic psychological progress–assumption, attraction, infatuation, and attachment–which is why they all felt true emotionally, even if some viewers were less than pleased with Buffy’s choices. These are all clues that the object is genetically a catch, physically and mentally healthy; it’s DNA shrieking “Pick that one, I want to live forever!The power of their love is larger than life not because they’re larger-than-life characters, but because it is implacably and completely unconditional.