Sarah Michelle Gellar and Buffy The Vampire`s Stake In Woman
Sarah Michelle Gellar and Buffy The Vampire`s Stake In Woman
When it comes to feminist perspectives we`re often looking at things from the wrong angle. Christianity has the same problem when it comes to Satan. Because men are perceived as the ones with the penis, `Woman`, who has a penis of her own as `futanarian`, and so is an independent species with her own socio-economic functionality, has the role of Satan to Christians. She isn`t a part of church patriarchy`s monogamous enslaving of women`s `host` wombs through such devices as pederasty`s HIV/AIDS to ensure women`s faithfulness, which Revelation warns of in the Bible:
`Mystery, Babylon the great, mother of harlots and the abominations of the Earth.` (Rev: 17. 5)
The mystery is that women can be made to accept pederasty and its contagion of HIV/AIDS when they have their own `futanarian` penis (https://www.futanaria.com) . In the US TV show Buffy The Vampire Slayer (1997-2003) Sarah Michelle Gellar`s `slayer` character is complimented for three seasons of the drama series by Eliza Dushku as Faith, but Eliza`s character becomes less reliable and more villainous:
`Every guy's got some whack fantasy. Scratch the surface of any granola type, [hippy] dude, [and it`s] naughty nurses and horny cheerleader[s].`1
`Whacking` is a mafia term for murder, which is the fantasy of men who are no longer interested in their penis but the `snuff movie` action of `whacking` some babes is their perverted coward`s fantasy because of pederasty`s contagion of enslaving women`s `host` wombs for war and its contagions, which in Jesus` case was manifested as the `whacking` of the `Son of Man`, and in Sarah Gellar`s `scream queen` movies, such as Scream 2 (1996), the `whacking` of her by inadequate cowardly impotent males as a form of cinema entertainment that the 21st century seems to have found acceptable to purvey to audiences as a legitimate adult objective:
`I'm always the one who gets killed. And I want it to be really gory. Body parts all over the place. Mangled!`2
In Buffy The Vampire Slayer Eliza Dushku`s character Faith comes to represent the woman that doesn`t accept patriarchy, that is, faithfulness to monogamy, because of the `blood plague` of HIV/AIDS, which is why the series is devoted to slaying the vampire that drinks the blood of women, and in direct opposition to Christ, whose disciples often addressed him as `Master` (Mk: 9. 5), Buffy and Faith are fighting against an evil `Master`:
`Hunt and kill, hunt and kill. Titillating? Yes. Practical? Hardly. Meanwhile, the humans, with their plebeian minds, have brought us a truly demonic concept. Mass production!`3
The Antichrist `Master` is ridiculing Buffy`s role as a slayer, and his remark refers to her role as a pornographic stimulation for jaded appetites, while sneering at the notion of humanity as meat slaves, which is what humans were in ancient times. Greek society, upon which Western civilization depends for its origins, was founded on pederasty, and war to spread its disease further. The pattern of the illness is apparent from one or two seminal socio-historical events. Before the walls of Troy, the Greeks left a huge hollow wooden horse as a `friendship gift` and the Trojans took it inside the walls of Troy where the Greeks emerged to enslave the `host` wombs of the city, despite being warned:
`Beware Greeks bearing gifts.`4
The terrorists that hijacked planes on 9/11 to crash them into the Twin Towers of New York were performing the same action. Feigning friendship as tourists allowed them to emerge as a `Trojan virus`. The 21st century `killer disease` HIV/AIDS` cell employs the paradigm of `false friendship` to spread its contagion for the body`s immune system by telling the white cells that protect the body from disease that it`s what they are. Then it kills the cells that it has made friends with so that the body dies. HIV/AIDS is a male `killer disease` and it`s how men have spread their contagion of pederasty and war to the sphere of `biological warfare` against the human species.
HIV/AIDS is the `gift horse` that men have made for themselves through out of sexual intercourse through non-human anal sex with each other to produce the HIV/AIDS virus in their witchcraft of mixing blood, shit and semen, and it`s what they want to give `Woman` as a `futanarian` species with her own penis as a `friendship gift`, because it represents an aspect of the `perpetual enmity` of the `biological warfare` that the `serpent`s seed` has been waging against `woman`s seed` since Eden.
Born from the Virgin Mary Jesus is `woman`s seed` uncontaminated by the virality of male semen. The book of Revelation from the Bible describes `woman`s seed` receiving a `new heaven and Earth` from God and God tells Eve in Genesis she `shall crush the head of the serpent as she leaves` (Gen: 5. 19). The concept of the serpent grown into a dragon, or vampire draco, is presented in Revelation as the devourer, which waits in vain when the `hidden` woman gives birth to Christ, in his `Second Coming`, as the `New Redeemer`.
In her US TV series for `young adults`, Buffy The Vampire Slayer, Sarah Michelle Gellar (1977-) is empowered to put a sharp wooden stake into the heart of the vampires that beset her and her friends at college, because she is `woman`s seed`. The stake that she holds in her hand is a symbol of a woman`s penis, which in men is translated into the gun that enslaves her `host` womb for pederasty and war`s contagions:
`Into every generation a slayer is born: one girl in all the world, a chosen one. She alone will wield the strength and skill to fight the vampires, demons, and the forces of darkness; to stop the spread of their evil and the swell of their number. She is the Slayer.`5
The `red dragon` of Revelation appears in tandem with God`s `blood plague`, that is, pederasty`s contagion of HIV/AIDS` and `biological warfare`. Most treatments of the vampire theme present the draco making immortal slaves to do its bidding, while the male figure of the Hollywood `anti-hero`, Dracula (1958), is the protoypical `forbidden lover` of traditional horror:
`Then she paused, and I could hear the churning sound of her tongue as it licked her teeth and lips, and I could feel the hot breath on my neck. Then the skin of my throat began to tingle as one's flesh does when the hand that is to tickle it approaches nearer, nearer. I could feel the soft, shivering touch of the lips on the super sensitive skin of my throat, and the hard dents of two sharp teeth, just touching and pausing there. I closed my eyes in languorous ecstasy and waited, waited with beating heart.`6
Usually seen as surrounded by a coterie of young women, the character of Dracula is perceived as a pimp-like purveyor or panderer of female flesh. Much as a brothel keeper of the nineteenth century might have been perceived, where the word for a house of prostitution is etymologically related to the Old English `briethel`, which means `worthless`. The vampire is usually painted as giving up sexual desire for immortality, so the figure of Dracula represents the pimp who doesn`t want women for anything other than the titillation of its horror audience, which means BDSM. The term `brothel` directly derives from the Old English, `brēothan`, which is `deteriorate`. Consequently, as the boy Xander Harris observes wryly in Buffy The Vampire Slayer, Sarah Michelle Gellar`s character Buffy is in the tradition of soft core pornography, which is a first step towards corruption and degeneracy that he doesn`t want for himself or her:
`Well, yeah. I'd give anything to be able to turn invisible. I wouldn't use my powers to beat people up, but use my powers to protect the girl's locker room.`7
Xander has the right idea. He doesn`t want pederasty and war, he wants protection for `woman`s seed`, which means that, like Jesus, he wants to be a keeper of the species and not a contagious disease. The tradition of non-human pornography began properly with the crucifixion, death, Resurrection and Ascension to heaven of Jesus, who was tortured to death because he was `woman`s seed` and celibate, according to Christian tradition, which means that he was `Vampire` in the sense that he offered his `body and blood` symbolically as `bread and wine` at the `Last Supper` to his disciples as a sign of true friendship rather than the `feigned friendship` of treachery, and before his betrayal by his friend Judas to the Jewish police, the Pharisees, which resulted in his sentencing at the court of the Roman Emperor of Palestine for seditious preachings about God and immortality for `woman`s seed`.
Jesus was seen as inciting unrest amongst the enslaved population, and movies such as Spartacus (1960) with Hollywood superstar Kirk Douglas, as the slave that organizes a rebellion, celebrate the human desire for freedom, `I am not an animal!`8 Based on genuine socio-historical happenings, where the encaged workforce rebel significantly against Rome, Douglas` character Spartacus bears witness to the political power of Jesus, whose relations with the disciples aren`t sexual, but their possessiveness of Christ is political. Before Jesus` death a woman was rebuked by the disciples for attempting to anoint Jesus` feet with `too expensive` perfume. Jesus` response was to tell the disciples:
`Leave her alone.` (Mk: 14. 6)
Jesus is `woman`s seed` and not a pederast, which he here reminds the disciples of before they`ve finished `feigning friendship` and hand him over to the Romans for what amounts to the beginning of the homosexual `party` for sado-masochists where the human male is the focus of the pederasts actual sexuality, which is non-human pornography. The movies that feature Dracula or similar vampiristic characters for those media marketing excercises that derive from the vampire myth in popular culture are similarly pornographic. Witness Sarah Geller herself, as Buffy, in a not altogether tongue-in-cheek response to Eddie the vampire`s advocacy of W. Somerset Maugham`s Of Human Bondage (1915) as a comment on the way men invite women to take off their clothes in the plunge to degeneracy that is BDSM:
`Oh, I'm not really into porn... I mean, I'm just trying to cut way back.`9
Somerset Maugham`s novel is about the nature of physical limitation, which is what BDSM applies to the concept of liberation, where the restrictions of the sexually hampered are relived upon release, and so pleasure in the ability of the unfettered body is heightened. The central protagonist in Of Human Bondage, Philip Carey, is born with a `club foot` which delimits his sphere of normal activity, and towards the action`s closure his verdict on his own stoic refusal to allow his handicap to interfere with his development as a human being is:
`… the simplest pattern, that in which a man was born, worked, married, had children, and died, was likewise the most perfect.`10
The `club foot` of the `woman`s seed` is her `futanarian` nature, which is handicapped rather than being a disability, because men don`t want her to be able to escape from their enslaving of her `host` womb, and so she can`t live as an independent species espousing `Liberty` and living in the freedom of reproduction and production with the humanity that she seeks to give birth to because of her parasite, which in Buffy The Vampire Slayer is represented by the vampire but that`s actually a euphemism for men as the parasites that prey on her and her friends` desire to live apart from parasitism.
Approaches towards Jesus` celibacy are based on the false understanding that the rabbi was an itinerant beggarly parasite, and that`s why his penis didn`t work with women, because he was socio-economically unviable as a provider and support, while interpretations of Dracula`s impotence focus on the parasite`s preference for bloodthirstiness, which represents the male who is no longer interested in women other than as a source of its virus` killing gratification.
Demonstrated by the demons at Jesus` crucifixion, bloodlust is translated into modernity as the leech-like sucking of life`s blood from female victims, who work as hostesses for their enslavers, that is, as whores. Pimps don`t even see women as `host` wombs for an emerging future that their male parasitism can wait to devour, so HIV/AIDS and other STDs of the brothel signify the male`s desire to kill the female before anything emerges from her womb, which is why Sarah Gellar in Buffy The Vampire Slayer is a woman empowered to kill.
Pimps aren`t interested in sexual activity either and so are modern day vampires. The `host` womb of `Woman` produces art, culture and civilization, and the devouring draco consumes her in its wars of `perpetual enmity` against `woman`s seed`, which has an economic valence, as the role of the pimp indicates, but it`s corrupted, as Sarah`s role in Veronika Decides To Die (2009) indicates:
`People think about sex only once a fortnight and transform that thought into action only once a month.`11
Reduced sexual interest is a symptom of parasitism, which the pimp represents at the lowest level. Instant sexual gratification of desirefulness removes the socio-economic need to woo, and transform sexual instinct into a spiritual and intellectual capacity to work and provide for a woman who has been wooed into marriage. In terms of sexual economy, the brothel is cheaper, but the price is degeneracy, because desirefulness for a woman is translated into working in order to have a marital home, and those who are trapped into moments of sexual release that they pay for become parasites rather than workers because they have no interest in social betterment.
Although the United States` declaration of independence in 1776 from the yoke of the British Empire espoused `Liberty`, and enshrined that espousal in New York harbor as freedom`s statue, women`s liberation isn`t achievable if she isn`t enabled to use her own socio-economic valence, which biologically consists in her having an own penis as `futanarian` woman, and so a reproductive and productive capability that is independent of her inhuman captors, the pimps, who Rupert Giles in Buffy The Vampire Slayer describes as:
`Demons after money. Whatever happened to the still beating heart of a virgin? No one has any standards anymore.`12
The pimps reduce the workforce to parasitism because they kill romantic desirefulness for a better life with a woman. The metaphor is of the parasite that fits the traditional depiction of the vampire in Buffy The Vampire Slayer where Sarah Gellar is effectively `pimped`, albeit sentimentally and sadly by Rupert Giles. He is the `librarian` at her college, and ostensibly assists her to remove the parasites that attack her and her friends: to prevent them from completing their work and having fun together. In reality, however, he`s pimping her as his creature, and occasionally irascibly reminding her of her studies` subordinacy to her extracurricular activities as the `slayer` who works for the `cause`, which insofar as he`s her `Watcher` corresponds to the perversion of voyeurism:
`You have responsibilities that other girls do not.`13
The voyeur in mainstream Hollywood movies only differ from `snuff movies` in that the film studios present them as vehicles for `acting` rather than `snuffing`, and the role of the voyeur is described graphically in such `dramas` as the film of Brett Easton Ellis` novel American Psycho (2000), `You gotta kill a lotta people!` Or Sharon Stone in Sliver (1993) where the titillation for the male is the stalking of Stone by a killer, much in the way that HIV/AIDS is represented as stalking the sexually permissive woman from the late 20th century and onwards. Here the vampire is the movie insofar as it encourages voyeurism, which in terms of Hollywood, Babylon, has become an exercise in watching as the woman is being killed rather than acting to prevent it.
In Buffy The Vampire Slayer Rupert Giles keeps Sarah`s character Buffy busily engaged in non-productive work, or deferring enjoyable sexual activity. He`s doing what men do, which is functioning as a helpful `sprite` for men to interfere with Buffy`s development in terms of her actual desire for work, that is, the completion of her collegiate degree, and learning and discovering her own female sexuality. Insofar as Rupert Giles achieves acceptability, he`s a standard educator, who keeps knowledge of their own penis a secret because it`s a path of escape. Working young women as a `Watcher` or voyeur is a non-human aberration for a man who`s no longer interested in his penis as a normal tool. Suggesting she take the stake she has in boyfriend Xander Harris` heart out, Rupert Giles invites her to take his wooden stake in her hand:
`It`s devastating. He's turned into a sixteen-year-old boy. Of course you'll have to kill him.`14
Rupert Giles is the chief protagonist from a man`s point of view because he represents the masturbatory impulses of the older male who is sexually incapable, or disinterested in a long term physical relationship with a woman like Buffy, who is more accepting of her own independent women`s clique because they represent herself as a sexual species. When Willow Rosenberg says she`s missing Tara Maclay, her lesbian friend, Anya Jenkins replies with automatic certitude, as one member of a species to itself:
` You can sleep with me. You know, that came out a lot more lesbian than it sounded in my head.`15
Because `futanarian` women have a penis of their own, `Woman` as a species` interest in herself is long term, and it`s her womb, so why should she accept it being made into a `snuff box` for parasites to call her a vampire for wanting to live for a long time and escape from them with her own species` knowledge into the future rather than be kept as an ephemeral `host` to a devourer that doesn`t want her to live?
The male is unwilling to accept that his ownership of a penis` ejaculatory and fertilizing function makes his desire perfunctory and unsustainable, which means either he becomes the master of ceremonies for an increasingly bizarre series of abnormalities satisfying to his penis` unwillingness to accept its extinguished interest, or he becomes a masturbator, which is essentially what Buffy The Vampire Slayer is designed to be from a male perspective in which young college girls are a fantasy sex item on the TV menu.
Rupert Giles` presence in the plot was necessary to indicate the degree of abnormality acceptable to a TV viewing audience in terms of the masturbatory male fantasist that has abnegated its role as desiring to be a fertilizer for a role as an ostensibly fatherly `Watcher`, but actually a voyeur who is socially inconvenient to the young woman who needs to remove the father figure that, in preferring to watch rather than act, represents the malaise of the 21st century in which the woman is observed dying in thinly veiled `snuff movie` encouragements such as The Ring (2002) while the couch potatoes sit at home and silently applaud the TV fare:
`Buffy, when I said you could slay vampires and have a social life, I didn't mean at the same time.`16
Social life for the couch potato and the vampire devolve into the same thing insofar as one social group watch the women being murdered and the other murders them. Rupert Giles is saying he wants Buffy to slay vampires and not have a social life, because although he`s not sexually interested in her, he doesn`t want anyone else to be either, which is protypical in patriarachal father-daughter relations. By keeping her busy she doesn`t perceive that the father-voyeur is watching her as the Romans and the couch potatoes watched the gladiators in Spartacus:
`Those about to die salute you!`
Jesus` delayed crucifixion by the disciples` betrayal is as their `daughter`, in psychological terms, because of Christ`s role as the undefiled `woman`s seed`. Rupert Giles was removed from his role as `Watcher` in the plot of the TV series Buffy The Vampire Slayer because, according to the script, he had developed a `father`s love` for Buffy, which is non-sexual and so non-human and abnormal if it persists, and is demonstrated in Judas` betrayal of `The Master`, Jesus:
`Judas, are you betraying the son of man with a kiss?` (Luke: 22. 47-8)
Jesus` disciples and the rest of the population of Palestine, including the Jewish police, the Pharisees, and the Roman security forces, were practicing homosexual `cat and mouse` with him, which is incidentally what Tom and Jerry (1992), the Metro Goldwyn Mayer (MGM) short film cartoon series of sado-masochistic violence represents:
`You guys are fighting like a cat and a mouse.`
MGM studios began making Tom and Jerry in the 1940s because Nazism`s Gerrys, that is, German fascism, showed the United States that `cat and mouse` is what men play in its `concentration camps` for the Jews and other minorities who can`t help themselves. The desirers of the Jewish rabbi Jesus wanted to `cut to the chase`, as the Hollywood directors say when the action is slow, and so the non-human sexual activity of Jesus` homoerotic crucifixion scene began to be arranged by the disciples who were `feigning friendship` because they were bored with Jesus` humanity, that is, normal sexual conduct.
The meaning of the story of Jesus is that he wasn`t sexually interested in the disciples because he was normal `woman`s seed`, whereas abnormal `serpent`s seed` is interested in non-human sexual activity such as crucifixions and putting stakes in the hearts of women defined by those who hate them as vampires, but who are long lived and so wise and intelligent enough to know that `Woman` is a species with her own penis who has a real `blue chip` stake in the future of her own independence and freedom.
The Dracula story is of men who want to put a stake in the heart of `Liberty` in New York harbor because she might have a penis under her skirts that would make of her the World Trade Centre for her own socio-economic and productive capacity. Rather than the `rough trade` of global terror and war that the 9/11 miscreants sought to plunge the Earth into; as modern day bloodthirsty vampires spreading their contagion, through enslaving and devouring pederasty`s parasitism upon the `host` wombs of women.
The stake in the hand of Sarah Gellar`s character Buffy, in Buffy The Vampire Slayer, as the penis of `Woman`, means the character Buffy has a stake in her own future as an investor , so her task is to remove the male vampire, who is the leech or pimp upon `Woman`, so she can breed and produce herself as an independent species in freedom.
The array of such beauties as Eliza Dushku (Faith), Charisma Carpenter (Cordelia Chase), Michelle Trachtenberg (Dawn) and Alyson Hanigan (Willow Rosenberg), amongst her co-ed friends, represents Sarah Michelle Gellar`s own vampire coven from the perspective of those who view `Woman` as Satan. They have their own penises, and they want to use them; or, as the `lesbian` witch Willow says, without reference to the broomstick handle of woman`s hidden `futanarian` penis between her bushy thighs:
` You're the Slayer and we're, like, the Slayerettes.`17
Jesus represents `woman`s seed`, and so his offer of his `body and blood` corresponds to what the Catholic Communion service enshrines as `transubstantiation` through a symbolic eating and drinking of the `bread and the wine` at Christ`s `Last Supper` before his crucifixion. Transubstantiation is the perception that male and female children are born, so acceptance of `woman`s seed` and rejection of the leech-like pimping of bloodthirsty parasitism, that is, men`s pederasty and war`s contagion is in fact `gender specific`, that is, `woman`s seed` isn`t male. Those who advocate equality for homosexuals would have us believe that preferment by God for `woman`s seed` is racial discrimination, whereas it`s species discrimination to avoid extinction.
Homosexuality isn`t interested in reproducing the human species of `Woman`. Like cannibalism, or vampirism (parasitism), homosexuals aren`t for the human species, so the terms `cannibal and vampire don`t apply. Only humans could be cannibals, or vampires, but the proper term for the homosexual that is a `bloodthirsty` pederast seeking to spread its contagion through war is `parasite`. Although lesbians are defined as `gay` in feminism, they`re normal insofar as they`re indicative of women`s interest in their own species` reproductive and socio-economic potential for development, which desire for longevity and future growth for an immortal human species makes them `Vampire` from the parasites` perspective.
In late 20th century mainstream Hollywood movies featured young women as ephemeral nubiles whose role was to die. It was an invitation to pederasty and its `snuff movie` ethos to kill `Woman` as a species because men don`t want her to escape, and so they `cut to the chase` in films like American Psycho and Sliver where women are stalked and killed for pleasure because pederasty isn`t interested in having her reproduce herself – or it.
Buffy The Vampire Slayer was accused of Satan worship, but if women have their own penis and are excluded from Christian churches who continue to ignore `woman`s seed`, although Revelation explicitly depicts God as giving the seed of women a `new heaven and Earth`, Satan is what she is defined as by a religion that refuses to preach her ascendancy over men by virtue of her womb and own penis, which cuts them out of the cycle of reproduction unless she`s the slave of patriarchy.
Because pederasty and its devouring contagions are non-human, `cannibalism` isn`t a term that can be used as a definition, because it`s a reputedly human activity, whereas it`s an aspect of homosexuality, which isn`t human. The vampire, as indicated by Jesus` offer of his `body and blood`, prior to his being crucified, is normal. Insofar as she`s woman with a stake in her own future rather than a man`s stake in leeching her life`s blood from her heart, which is what Jesus` crucified as `woman`s seed` represents.
As the character Buffy, in Buffy The Vampire Slayer, Sarah Michelle Gellar represents rejection of the pimp society as what the `Vampire` Jesus would perceive as the immortal woman who has escaped the Romans` parasitical enslaving to be her own species with a stake in the heart of her and Jesus` killers, and a stake in the heart of her immortal future as a `Vampire` businesswoman:
`I must be about my father`s business.` (Luke: 16. 8)
The confusion in Christianity is that fathers are God, which God tells Eve, after she is tempted by the serpent`s promise, `You shall be as gods,` is to be the source of the serpent`s seed`s `perpetual enmity` against hers. In Graeco-Roman mythology Chronos and Saturn devour their sons, and the draco in Revelation is Satan, who waits in vain to devour Jesus, because Satan is perspectival and 21st century humanity are capable of adjusting their eyes to see what is there rather than being told.
To Christianity Satan is the enemy, but that`s perceived by many Christians as simple, whereas much of what is evil depends on perspective. If Christians view `Woman` and the seed of her own penis, to which God has promised a `new heaven and Earth`, as a danger to their economic hegemony, they are Satan in pederasty and war`s contagions themselves. `Woman` has then become Satan from Christianity`s perspective, because she wants to escape in independence and socio-economic freedom from irreligious enslavements of her `host` womb to parasitism and monogamous devour rings that enforce faithfulness through such of pederasty`s contagiousness as HIV/AIDS and other STDs represent.
Christianity is too simple, because recognition of their own perspective as Satanical doesn`t persuade them to do anything other than reiterate their opposition to Satan, because they don`t preach against their own entrenched position when it`s revealed as evil. `Woman` as a species is independent, which means that men are either redeemed because they accept and protect her, or irredeemable because they enslave her to devour her art, culture and civilization after it emerges from her `host` womb in its periodic outbursts of war. God warns the `serpent` seed`s `enmity` will be `perpetual` until `woman`s seed` receives a `new heaven and Earth`. In Revelation `fathering` has become a demotic for either woman or man, and so the concept of God, the father, becomes God, the fatherer, where men are no longer gods based on their own perceptions of themselves as the owners of the ovum of women`s wombs due to their being the sole fertilizing option.
Men`s sexual capacity is limited insofar as ejaculation is the end of their contribution to the sex act with women, whereas women have vaginal and clitoral, as well as penis` orgasm, if they`re `futanarian` women with their own penis, to sustain their interest in sexual activity and their desire to live longer to enjoy it more. Men`s sustainable interest is channeled either into intellectual and spiritual endeavours, such as the production of TV shows like Buffy The Vampire Slayer, or into more increasingly bizarre forms of warped sexuality that are primarily visual and passive, and so ultimately indiscriminately unselective, because they`re cowardly couch potatoes and visual stimulation isn`t physically demanding or threatening enough to their laziness to cause them to sit up and ask to be deprogrammed from accepting devouring parasitism as their natural mode. It was `fatherly love` for Buffy that resulted in Rupert Giles` `Watcher` character being removed from the plot, because he represented `concern` for the programmed:
`Your affection for your charge makes you incapable of clear and impartial judgement. You have a father's love for the child and that makes you useless to the cause.`18
Rupert Giles cares for Buffy and so she`s useless to the `cause` of lovelessness, which is bothering her with its parasitism and preventing her from serious work that could result in her recognizing her own species of `Woman` as more important. Although Giles represents the older male who requires more bizarre imagery to maintain his interest sexually, that is, young collegiate girls, he hasn`t stopped being interested in sex totally, and so he`s too caring for the `cause` of indifference and callous disregard, which is the program.
BDSM and `snuff movies` are physically stimulating for the male voyeur and masturbator, but it isn`t work, which is what genuine sexual activity or intellectual productions require. The desire for sex and the desire for work are equal in men, and those who don`t work can`t afford sexual relationships. Ever increasingly bizarre imagery sought through the internet, or other pornographic mediums, to satisfy what have become solitary masturbatory pursuits, is a symptom of the desire to masturbate rather than work. Unless such sexually involuted activities are channeled into spiritual and intellectual creativity, they become the sterile misogyny of hatred for what is felt is denied, that is, sexual congress, and pederasty congratulates itself on having created a new misogynist creature disinterested in the female form, and indeed despising it.
The role of the enslaver is to capture the desireful masturbator and force it to produce spiritual and intellectual work while imposing sex starvation to discouraging the individual to specialize in anything other than masturbation and study, which is what governments do with their intellectual human resources. Buffy and her friends, in pursuit of their college degrees, actually represent those girls who study but don`t want to, and that`s what Sarah Michelle Gellar represents for most teenagers who tune in to watch her character Buffy in Buffy The Vampire Slayer; a girl who doesn`t have a parasite forcing her to study and masturbate rather than live.
If Governments create misogyny through enforced academic specialization, those professorial gentlemen who embrace the research laboratory are lucky if they escape with a minor perversion as their prize. In the movie The Prime Of Miss Jean Brodie (1969) Maggie Smith taught the girls in her schoolroom that they were the `crème de la crème` and they became the `Brodie set` of what amounted to a women`s support group, but girls are more often taught they`re lesbian and abnormal if they like each other, whereas their duplex form as `futanarian` woman with her own penis means sexual desirefulness amongst them is species` normal:
`Give me a girl at an impressionable age and she is mine for life.`19
The movie about Jean Brodie and her girls is of how difficult it is for women to admit of their sexual desire for each other. In Hollywood mainstream movies, it`s virtually impossible to see a penis at all, never mind a woman`s. Consequently, the conclusion has to be that art doesn`t in fact mirror life, and that it`s easier for women to have sexual relations with each other, because they`re a species, than it is to have relations with the symbiote that has `feigned friendship` for the woman and her `host` womb in order to be a parasite, and media representations in all art formats of the taboo against lesbianism and the non-existence of the female penis are merely the parasitical virality`s propoganda.
All women have a clitoris and vagina, whether they`re `futanarian` women with a penis or not, and the female orgasm takes as long as the woman wants to have it last in its building towards a climax, which makes her insatiable in her interest, and in 21st technology terms, with its insatiable `sex machines`, able to maintain a perfect disinterestedness to men when she can adjust the thrusting power of a machine`s rubber encased steel penis to suit her capacity for receiving as many thrusts per minute of vaginal satisfaction as she requires.
The woman with her own `futanarian` penis has insatiable sexual desire in tandem with the capacity to produce with her own socio-evolutionary tools, that is, the penis, and vagina from which emerges the art, culture and civilization of `Woman`. Allied to insatiable desire the improved tools of the producer suggests a greater desire for work commensurable with the builders` equipment that God, `the Great Architect` of the masons` lodges, has given to her. In Masonic terms, `Woman` is God`s builder and God has improved her tools.
Men`s capacity for sustaining an erection is limited, and the erections that they`re sustaining are primarily based on BDSM and `snuff movies` Jesus` depiction of his experience and understanding of bloodthirsty parasitism is seminal, and such events as 9/11, 2001 are a further sign that TV and movies made in Hollywood`s Babylon, which encourages violence rather than realistically descriptive sex that isn`t warped or perverted for male minds uninterested in their penis` capacity for love, are wrongly directed.
Sarah Michelle Gellar is a heroine because she lives through seven series of Buffy The Vampire Slayer and, although she titillates, that`s how the penis`s desirefulness, according to the developmental psychologist Carl Gustav Jung (1875-1961), is aroused to function as a transformer of instinct into spiritual and intellectual endeavour, so that TV series such as Buffy The Vampire Slayer are produced. If men didn`t desire to see her as Buffy, because of sexual desire, Sarah Michele Gellar`s show wouldn`t have been made. Buffy represents the female form and the penis working together to inspire and promote work, which is the desire to have the woman in as good a scene as it`s possible to place her through physical endeavour directed by spiritual and intellectual considerations, such as home making, for example:
`Buffy and Angel are in a church getting married. As they exit the church, Angel is fearful of the sun, but it is Buffy that burns up and dies - not him - when they come in contact with the sun's light [in bed at Angel`s mansion], Angel wakes up.`20
For Angel it`s a delusion that he can be joined with Buffy in holy matrimony because he`s not `woman`s seed` but a vampire, that is, a parasite, and it`s a tradition that vampire`s die in the sunlight, although the metaphor is probably that male parasitism upon the `host` womb of `Woman` can`t bear scrutiny, and so Buffy is consumed because that`s what parasites do with `Woman` as a species; they devour her. Because Angel isn`t consumed, the suggestion is that he has Redemption. His acceptance of the Holy Spirit/Paracelete is manifested through the psychopomp of his dreamworld, who is his anima and appears in the guise of the consumed Buffy.
Angel isn`t consumed by his love for the woman, and doesn`t consume her, so he doesn`t correspond to the draco of the Christian Revelation, who would seek to consume `woman`s seed`. Angel has Redemption because his love doesn`t devour, which means he corresponds, in Christian terms, to the `New Redeemer`, who protects the `hidden` woman with an `iron scepter` insofar as his desire is to be controlled in his keeping. Buffy`s spontaneous combustion in the sunshine is simply the dream girl, but Sarah Michelle Gellar is asleep in the bed in Angel`s mansion where they`re discovered together. We know that she`s real because she`s an actress, and the camera trickery is a part of the story`s telling the difference between Sarah Michelle Gellar and Buffy The Vampire Slayer, which is that what is tangible is real, but it`s the fictions that we accept as desirable that determine how tangible we remain and, if we embrace, `snuff movie` culture for the human species, `Woman` and the Earth will not endure.
The specialized individual, who may`ve been responsible for developing the flat black screen of the television in Angel`s mansion, together with its satellite `Bluetooth` receiving dish and equipment, is created as a `Watcher`, in Buffy The Vampire Slayer terms, that is, someone who assists voyeurism, and who has developed improved televisual equipment due to the enslaving of his brain and spirit. His penis` desireful nature has been sacrificed by the educational establishment`s `demons`, that is, those muscular football stars who plagued his and other sensitive souls` collegiate life with warping feelings of inadequate sexuality in close proximity to intangible dream girls like Buffy and Faith. Angel`s adequacy resides in his control, whereas the specialist`s inadequacy is his controlled nature, but out of his own control, which means he`s a slave to what is invisible and intangible while Angel is a keeper of what he can touch and see, and he can see more of Sarah and Buffy than we who are specialists.
4 Virgil The Aeneid Bk II, 19 B.C.
6 Stoker, Bram from `Jonathan Harker`s Journal`, Dracula, https://fr.www.affinibook.com/ebook/read?book_id=7953&chapter_id=3
9 The Freshman, Season 4, # 1, October 5, 1999, https://en.wikiquote.org/wiki/Buffy_the_Vampire_Slayer
11 Coelho, Paul Veronika Decides To Die, 1998, ISBN 0-06-095577-5, p.20
12 Fear Itself, Season 4, # 4, October 26, 1999, https://en.wikipedia.org/wiki/Fear,_Itself
13 Reptile Boy, Season 2, # 5, October 13, 1997, https://en.wikipedia.org/wiki/Reptile_Boy
14 The Puppet Show, Season 1, # 9, May 5, 1997, https://en.wikipedia.org/wiki/The_Puppet_Show
15 Tough Love, Season 5, # 19, May 1, 2001, https://en.wikipedia.org/wiki/Tough_Love_(Buffy_the_Vampire_Slayer)
17 The Witch, Season 1, # 3, March 17, 1997, https://en.wikipedia.org/wiki/Witch_(Buffy_the_Vampire_Slayer_episode)
18 Helpless, Season 3, # 12, January 19, 1999, https://en.wikipedia.org/wiki/Helpless_(Buffy_the_Vampire_Slayer)
19 Spark, Muriel The Prime Of Miss Jean Brodie, 1961.