Some things I've noticed (from BTVS):
1. Buffy doesn't get kicked out of the house. The scene actually has her escalating by saying that she can't be there. Yeah, Dawn says that maybe she shouldn't, but it's because Buffy can't follow as opposed to simply kicking her out of the house. And the rest of the gang aren't very enthusiastic about kicking her out either.
2. Xander doesn't leave Anya. He gets an emotional kick to the pants and can't deal. Admittedly, it makes him rethink what he's doing, but as he says in Entropy, he's not saying that they shouldn't be together, but that they shouldn't get married at that time. Which isn't all that unreasonable, because I doubt that anybody that just went through a tremendous emotional trauma would want to get married five minutes later.
He even says in Entropy that his intention is to stay together. Frankly, the real destruction of their relationship is due to Anya's immaturity and inability to show any empathy at all. Of course, blaming it on the woman would detract from the feminist aspect of the show so I guess it's easier to just blame the guy. Even though the demon that started the whole thing did it as vengeance upon Anya's past sins.
3. It's more of a defense as opposed to a fanon belief, but in the episode DEAR DOCTOR from Star Trek: Enterprise, Archer and Phlox agree to commit genocide. There's a whole argument of why, but it boils down to them committing genocide against an innocent people. They're monsters.
More so for the first site than the latter, but there's this disturbing trend when it comes to romance/relationships/sex/love whatever you want to call the subject. Basically, there's a complete disregard for character as a result of a focus on physical appearance. By which I mean, it doesn't matter if the character's a complete psychopath, if he's hot it's okay if he beats on you. I suppose I should say that it works for every gender, but I'd say in general it's psycho male with a female, so I'm sticking to that for this discussion.
Intense emotions aren't necessarily positive. If a guy hates you, or mankind in general, that probably means that he's not going to make an exception for you. Especially if it's a guy that's a mass-murderer that doesn't give a shit about killing kids. It doesn't magically transform into love. A thin line between love and hate it is not. The way that works is annoyed at you for fucking up because they care so damn much. Not, I have no problem with breaking your family's spines and eating their faces, but somehow I love you and promise not to break your spine if you annoy me once too many times.
Even worse, linking the hate and violence to relationships/love is rather disturbing. I mean, phsical abuse=love? Really, that's your thematic stance?
I suppose she looks like the way she does is because a guy really loved her? And I suppose it hurt him more than it hurt her. That's the logical supposition of your intense emotion/fighting/hate leading to sex/relationship.

Bad relationships are a fact. They also occur all the time in fiction. But to gloss over a guy's character because he's hot is a disturbing trend, more so if that's what teenagers really think about relationships.
I don't care when the last time you saw that episode of Buffy was, the transcripts for all the episodes are online and not having seen it in a while is not an excuse. Don't try to tell me what happened, since I took the thirty seconds needed to find and consult the script and found out that you were wrong. It just means you wanted to half-ass it and not do the research.
It's the same for writing. Do the research. If you're jumping off from a point of canon, then research is necessary to establish where the characters are at at that point, and what the consequences of that are. I mean, even Kurtzman and Orci talk about how they're free to include stuff in the new Trek timeline that exists outside of influence from Nero's shenanigans. For fuck's sake, if they're paying attention to the continuity, then you all have no excuse not too. More importantly, not doing the research just means that you're more intent on writing about your view of the characters without having to respect continuity.
If you do that, then just write original fiction. Hell, if you're writing about Spike being a club owner and Xander being a dancer there and them somehow being lovers, you're pretty much doing exactly that. Only as a douche, because you don't have the respect to just make it an original story.
Addendum: That's not to say that there aren't good ideas springing from fanfiction that ends up as a common trend. It's bad when it shows up because people can't be bothered to know what actually happened.
According to Quantcast, which I'm told is accurate, fanfiction.net has a 67% female visitor base and Twisting the Hellmouth has a 66% female visitor base. While it doesn't, and probably can't, break it down by writers vs. readers, I think that the numbers are indictative of a general trend that exists in fanfiction. The general perception, evidently based on polls, is that slash tends to be written by women. The obvious theory for why so much slash exists then.
That's not so much a problem per se. Or more specifically, it's their right to write it, I suppose barring whatever legal ramifications there are for fanfiction as a whole. However, the necessary hoops to jump through to get from canon to slash are such that it either A) takes up quite a bit of time and therefore tends to take precedence over plot or B) is assumed which is usually an indicator of poor writing anyways. Or to put it another way, so much of this type of fic is centered on getting the pairing together, which is pretty boring given how pervasive every slash pairing is. More so when so much of a fandom is taken up by this pursuit. There's one thing to do variations on a theme, there's another when it's the 500th iteration of Harry somehow falling for Draco in a completely unrealistic manner. This wouldn't be so much of a problem, but for the general way that fanfiction shakes itself out.
Again using quantcast figures, I would say that if the overall number of writers are female, write what they want to read, or write what female readers want to read, then it seems logical that the majority of reviews are left to those types of stories. Which doesn't lead to a particular push for quality, since it seems like positive reviews are based more on pairing and the angst/process of getting them together than an actual plot.
Fanfiction writers don't get paid. It's done as a hobby, and like all hobbies, the hobbyist needs to get something out of it. In economic parlance, call it utility. The utility of writing would come from two parts, writing and also the interaction with those that are reading. Fanfiction is, much more than professional writing, an interactive activity. The way I see it, the utility of a writer for a particular story, or writing in general with no feedback is generally like a bell curve with a long right tail. There's a plot idea the writer gets excited about, and he starts writing it, excited and therefore getting quite a bit of utility from writing.
As time goes on, it takes more effort to write something long and good and therefore it starts getting less fun. For example, I could write another chapter of a story, but if it's chapter 60 coming after 300K words, then without feedback I'd get more utility from playing Call of Duty 4 for an hour than writing for an hour. So I play video games instead of writing.
However, that long right tail with falling utility can be delayed or continously propped up by interaction and reviews from the readership. I'm much more inclined to write if I'm getting good feedback from the readers. I'm not saying that it has to be all positive, but stuff that has some thought behind it. Of course, even a "good job" is appreciated so I at least get a sense of what the general feeling is.
Here's the thing though. Apparently, writers shouldn't expect feedback, or feel obligated to get reviews. It's more pure that way I guess. That's technically true, I mean nobody is obligated to give reviews, and I fully understand the reasoning. Of course, that means that long and complex stories are not going to be written or finished because it stops being fun after a while or the writer doesn't even want to try. The utility that would be gained from the feedback isn't there to offset the fall in utility from simply writing. One could say that that makes it less artistically inclined to at least partly write for feedback, but hey, it means that good stories get finished.
The ultimate result of this "purity" is a preponderance of really short stories which end up by necessity being character pieces or effectively pairing/romance stories. Or unfinished stuff. They have their place I'm sure, but if that's all that exists....well I guess people want crap because it's more pure. Or for more unfinished stuff. But hey, as long as the readers don't feel obligated to do anything but read.

With the season (hopefully) finale of Terminator: The Sarah Connor Chronicles I've been inspired. And given the general complicated nature of time travel, I've even come up with a general timeline for how it works. There's an excel spreadsheet and everything. I do use a common starting point, but there's a reason why some things are common. It's a good jumping off point, and it's not like they don't exist for nearly every other major character out there.
General idea, Xander gets sucked into the portal at the end of S2 of BTVS, and instead of going to a hell dimension, he gets shot into the future. To the year 2021 in fact. There he gets picked up by the machines and tossed into Century Work Camp. He's there for a year, and ultimately helps John Connor, Martin Bedell, and Kyle Reese to break out and start the Resistance.
With humanity basically destroyed, demons are more public. But since they haven't been able to organize as humans did, they're in even worse shape than the Resistance, with most having been killed during Judgment Day or hunted down, the lone survivors skulking around in the tunnels or on the surface just trying to survive. Xander, having experience with such things, gets the idea to start recruiting some of the heavies that are still left as a special strike team to perform especially dangerous missions. They/he are involved in quite a few of the more important mission/battles, such as the Battle of Avila Beach, where Serrano Point was reacquired, and the Battle of Kansas Bunker, where 40 Resistance members, including Connor, were rescued.
Time passes, and Skynet is pushed back and Connor is able to capture the TDE facility in Topanga Canyon in 2027. The known events occur, with Kyle Reese sent to 1984, the Engineer sent back to about 1963, Derek back to 2007, etc., with Xander, now 22, going back to 1998 (there are reasons for this) to start setting up safehouses, gathering intelligence and recruiting whom he can.
Since the Hellmouth is the obvious place for recruitment, he'd eventually have to deal with Buffy and company, who are at a vastly more innocent and younger stage than he is. There is going to be the badass Xander, of course, but with 7 years experience surviving in a prison camp and starting a Resistance and fighting a war and staying alive he'd have to be pretty skilled.
Action/Adventure/Angst ensues.
The Avengers

Those Not Quite There Yet


And Finally

I made these way too early in the morning, so they could be better. I'm liking the style for the most part. Better than my playing around with paint.
And the good thing about masks? It could be anybody under there.
Title: Spy Game
Summary: Set a year after the events of Chosen. The game's been changed forever, and everyone has to step it up if they want to survive what's coming. Xander-centric.
Genre: Drama/Adventure
Rating: T
Length: ~300,000 words (a couple thousand are probably author's notes over 66 chapters)
Warning: First fic. Kinda rough.
Title: Mind Game
Summary: And the hits keep on coming. This time, Xander doesn't have a safety net to fall back on. Sequel to Spy Game
Genre: Drama/Adventure
Rating: T
Length: ~150,000 words (incomplete for now)
Title: Like a Thing Unto Iron
Summary: Xander touches the heart of the dragon, and is changed forever. You didn’t think the Slayer was the only legacy power did you?
Genre: Adventure/Fantasy
Rating: T
Length: ~142,000 words
Title: Way of the Warrior
Summary: Xander has embraced the Iron Fist, becoming the Immortal Weapon of K'un-L'un. But, with that come new challenges, and old ones. Sequel to Like a Thing Unto Iron.
Genre: Adventure/Fantasy
Rating: T
Length: ~100,000 words (incomplete, what I'm currently working on)

