Women love bad boys - they're exciting, and the chance to change him, to break him like a horse, must be an irresistible challenge.
If self-destruction weren't seductive on some superficial level, then no one would ever need rehab. But I am like most guys in that I am a fan of zombie flicks.
I'm also a fan of alien and robot movies, but more often than not, it seems women are more adept at dispatching those. Zombie movies indulge male power-fulfillment fantasies. We enjoy pretending to be dragon-slaying knights or bad-guy-perforating cowboys or Bruce Willis, saving our ex-wife from a skyscraper full of terrorists. The Frisky: Compliments guys take as insults. Before any feminist blood vessels burst, let me explain that this fantasy goes hand-in-hand with a male-specific fear that speaks to ancient genetic programming.
That for all our swagger, testosterone, and machismo, we cannot protect those we love. The disaster call for women and children to evacuate first isn't chivalry, inasmuch as it's evolutionarily smarts.
The women and children will continue the species; the men are disposable. We fear being useless, especially once we have issued forth our baby-making essence. The Frisky: Where all the good guys are. In " True Blood," the vampire Bill has decided to change himself, to fight his ferocious nature. He struggles to be a better, um, corpse. He rejects the cold, bloodthirsty vampirism of his peers, and tries to embrace those human virtues he once had: selflessness, mercy, kindness, and justice.
In some ways, he's less a vampire and more a superhero. Yet the most iconic examples, Sigourney Weaver's Ripley in Aliens and Linda Hamilton's Sarah Conner in Terminator 2 both films directed by James Cameron are motivated to heroic action explicitly by their maternal instincts.
In other words, for these characters, anger and active resistance are acceptable and understandable only in the context of motherhood, woman's "natural " role. For a change in this model to occur, it seems we needed to look to women from a different generation--emphatically not mothers.
But she's also the Chosen One: in the mythology of the series, from every generation a girl is chosen to stand alone against the forces of evil, the protector of all of humanity. And the creation of Buffy was literally a response to the fate of a certain kind of girl who inhabited the horror genre. In an interview in Rolling Stone, Joss Whedon, the creator of the series, described his original idea for Buffy:.
It was pretty much the blond girl in the alley in the horror movie who keeps getting killed. I felt bad for her, but she was always more interesting to me than the other girls. She was fun, she had sex, she was vivacious. But then she would get punished for it.
Literally, I just had that image, that scene, in my mind, like the trailer for a movie--what if the girl goes into the dark alley. And the monster follows her. And she destroys him. Welp, apparently Esmargot is a secret vampire hunter and has thousands of dollars worth of anti-vampire gear to prove it. Thankfully, Milo and Oscar follow Al to dinner so as to coach him through with Esmargot but she leaves in tears.
But, when Al goes to sleep, Esmargot comes by and grabs his bed where she then drags it outside so that by the time the wanna be vampire wakes up he is tied and about to burn in the sunlight! Thankfully, Albert makes it back in time before he dies only to be jumped and beaten to a pulp by two vampires. Mid-way through Al begs for it to stop as he no longer wants to be a vampire and instead just asks Esmargot out on his own accord.
That said, Rachel Dratch is no slouch playing Esmargot, and does a great job playing the wanna be Buffy. Great episode!
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