Whedoned features dialog from Joss Whedon shows and images of the Avengers who might say it.
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![BUFFY: Everybody, this is Rona.
POTENTIALS, XANDER, and ANDREW: Hey, Rona.
RONA: Um… why is that guy [Andrew] tied to a chair?
XANDER: The question you’ll soon be asking is, “Why isn’t he gagged?”
— Buffy the Vampire Slayer, “Showtime” (7.11)](http://25.media.tumblr.com/tumblr_m2e7juWLv51r54awgo1_500.jpg)
BUFFY: Everybody, this is Rona.
POTENTIALS, XANDER, and ANDREW: Hey, Rona.
RONA: Um… why is that guy [Andrew] tied to a chair?
XANDER: The question you’ll soon be asking is, “Why isn’t he gagged?”
— Buffy the Vampire Slayer, “Showtime” (7.11)
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COWBOYS: The Evil League of Evil
Is watching so beware
The grade that you receive
Will be your last we swear!
— Dr. Horrible’s Sing-Along-Blog (Act I)
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OZ: We should figure out what kinda deal this is. I mean, is it a-a gathering, a shindig or a hootenanny?
CORDELIA: What’s the difference?
OZ: Well, a gathering is brie, mellow song stylings; shindig, dip, Less mellow song stylings, perhaps a large amount of malt beverage; and hootenanny, well, it’s chock full of hoot, just a little bit of nanny.
— Buffy the Vampire Slayer, “Dead Man’s Party” (3.2)
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ANYA: For God’s sakes, Andrew. You’ve been in here for 30 minutes. What are you doing?
ANDREW: Entertaining and educating.
ANYA: Why can’t you just masturbate like the rest of us?
— Buffy the Vampire Slayer, “Storyteller” (7.16)
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MR. UNIVERSE: Oh, this is good. this is… she’s beating up all the burly men and I’m having a catharsis, it’s happening right now, you guys always bring me the very best violence. You think you’re in a hot place?
— Serenity (Shooting Script)
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SIMON: I thought she was getting better.
JAYNE: And I thought they was getting off. Didn’t we have an intricate plan on how they was gonna be not here anymore?
KAYLEE: We couldn’t leave them now.
JAYNE: No. Now that she’s a killer woman we ought to be bringin’ her tea and dumplings.
— Serenity
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TOPHER: I did all this. I’m the one who brings about the thought-pocalypse.
DeWITT: Thought-pocalypse?
TOPHER: Is brain-pocalypse better? I figure, if I’m responsible for the end of the world, I get to name it.
— Dollhouse, “The Hollow Men” (2.12)
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CORDELIA: Damn it, Xander, what’s going on? Who died and made you Elvis?
— Buffy the Vampire Slayer, “Bewitched, Bothered and Bewildered” (2.16)
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OLAF: Barmaid, bring me stronger ale, and some plump, succulent babies to eat.
XANDER: I’m gonna run and get Buffy. Or you could fight him.
SPIKE: Yeah, I could do that, but I’m paralyzed with not caring very much.
— Buffy the Vampire Slayer, “Triangle” (5.11)
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![ANGEL: Where is she [Darla]?
WESLEY: She got away.
GUNN: We tried to stop her by hitting her fists and feet with our faces, but…
— Angel, “Offspring” (3.7)](http://24.media.tumblr.com/tumblr_lyd2rqNuE31r54awgo1_500.jpg)
ANGEL: Where is she [Darla]?
WESLEY: She got away.
GUNN: We tried to stop her by hitting her fists and feet with our faces, but…
— Angel, “Offspring” (3.7)
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TRACEY: AAAH!!
MAL: Get a hold of him!
JAYNE: Spry for a dead fella!
— Firefly, “The Message” (1.13)
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ETHAN RAYNE: Brilliant. Now, isn’t this more fun than kicking my arse?
GILES: No.
ETHAN: Oh. Well it’s more fun for me.
GILES: Just tell me what you want to tell me.
ETHAN: Tch. So cross. We used to be friends, Ripper.
— Buffy the Vampire Slayer, “A New Man” (4.12)
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ANGEL: Now, why don’t we all sit down together and process this?
LITTLE TONY: Seems that sensitivity training I paid for really took, huh, Nancy Boy?
KATE: How do you think that makes me feel?
ANGEL: Okay, now I’m feeling unheard. You know, Anthony you could be a rainbow and not a painbow. I mean, it really is all up to you.
KATE: You.
ANGEL: No, you.
KATE: Come here.
CORDELIA: Ugh. Anyone for vomit?
— Angel, “Sense and Sensitivity” (1.6)
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BOOK: Not your way, Mal.
MAL: I have a way? Is this better than a plan?
BOOK: You can play the thug all you want, but there’s more to you than you’re ever like to ‘fess.
MAL: You just think that ‘cause my eyes is all sorrowful and pretty.
BOOK:
— Serenity Shooting Script
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JOEL MYNOR: It was money. It was roll around in money. And Rebecca had no idea; she’d been supporting the both of us for years. I mean ridiculous hours; living in a one room shack. And I knew this house was exactly her type. I paid cash. And I called her up and said, meet me at this address. And she was worried, you know, I could hear it. She probably thought this was a police station or something, but… Ah, you know. Thinking about the look on her face when she saw this place and I told her it was ours. (pause) Sanitation truck sideswiped her car three blocks from here. I heard the impact and, and… they said it was quick. I guess they always have to say that, right? But she never got to see this house. And she never knew I’d made good. So every year on this date, I pretend she does. Like I get to see that look on her face and I get to show her our extraordinary home.
PAUL BALLARD: And then you sleep with her.
JOEL MYNOR: It is a fantasy.
PAUL BALLARD: I’m sorry for your loss, Mr. Mynor, but it doesn’t make you anything other than a predator.
JOEL MYNOR: I’m sure I’m in need of some serious moral spankitude, but guess who is not qualified to be my Rabbi?
— Dollhouse, “Man on the Street” (1.6)
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