In Seasons 3, 4, 6 and 7, Buffy the Vampire Slayer offers the character of D'Hoffryn, one of the overseers to vengeance demons. His role in relation to Anya, and the later arrival of Halfrek, positions him as modern cultural pimp representation with female vengeance demons as his solicited prostitute harem. 

Claimed female spaces and the aspect of naming oneself is easily attributed to Buffy as The Slayer, Dawn as The Key, Willow as Goddess (sometimes The Big Bad), but where does Anya fit in this creation of feminine allocations? Anya's continual push and pull between the demon world and human existence act as locators for woman as prostitute/unclean versus woman as domestic/pure. 

By investigating contemporary studies of pimp and prostitute relationships (or lack thereof), particularly in film, the concept of arranging D'Hoffryn, Anya and Halfrek in this situational framework becomes clear. D'Hoffryn acts as pimp, Halfrek as stereotypical prostitute, and Anya as the good girl gone bad turned good gone lost among the search for a clear identity. 

In Anya's first turn from the domestic world into one of vengeance, she embraces a power and a sexual independence, with the small drawback of being under the watchful gaze and control of D'Hoffryn. In her return to the domestic sphere, Anya assumes a role of loving devotion to Xander, albeit contaminated from her previous associations with vengeance. As she makes her way back again into the social circles of vengeance, she finds she has lost her edge, that humanity has somehow infected her abilities to exact vengeance correctly or to secure the dark pleasures from it she once was afforded. In a sense, Anya's original place of domesticity never leaves her, but her foray into vengeance cannot be left behind, as well. In the prostitution line, the stereotype of a woman turned to the streets and back, continually places the woman in the street; she can never leave the market of being traded among men, whether through domestic sphere or sexually/powerfully independent. 

In BtVS, it is imperative to trace D'Hoffryn, Anya and Halfrek in this reality of prostitution and pimp relationships to understand the ways in which the realm of demon vengeance exists. More importantly, this exemplifies the manner as to how a woman's (Anya) place is acquired through and in relation to man..