Buffy 03E14 'Bad Girls'

Emotional Amplification and Ethical Grounding:
In the episode preceding 'Ted', Buffy postulates to Kendra on the merit of harnessing heightened emotion. She suggests, "the amplification of her emotion" could serve as a catalyst to enhance her Slayer prowess. Similarly, in 'Homecoming', Faith observes, “No, I mean it. I mean you really got some quality rage going. Really gives you an edge.”

I've made the case for Cordelia as the counterpoint to Buffy’s human dimension, here, Faith undeniably stands out as the antithesis of Buffy’s Slayer persona.

She represents an embodiment of raw power devoid of ethical grounding.

While Buffy finds solace and grounding in Xander, Willow, and Giles, Faith’s trust undergoes continuous betrayals. Faith's trajectory from Diana Fowler's tragic demise to being manipulated in 'Revelations' is evidence.

Parallels with 'Superman III':
Beyond 'Ted', the episode 'Bad Girls' interestingly draws parallels with 'Superman III'. A conversation from 'Helpless' becomes relevant when Xander and Oz debate on the impacts of Kryptonite on Superman:

  "You're assuming I meant the green Kryptonite. I was referring, of course, to the red Kryptonite which drains Superman of his powers. Wrong. The... GOLD Kryptonite's the power-sucker."

In 'Superman III', Superman’s moral compass is skewed when introduced to a malevolent Kryptonite variant. His darker impulses are evident in actions such as drinking, casual sex, blowing out the Olympic torch, and straightening the Leaning Tower of Pisa. Similarly, Buffy, after a harrowing experience, finds herself gravitating towards Faith’s moral latitude. Her descent is marked by acts of truancy, theft, and impulsive actions, symbolized by a dark change in her attire.

The Marionette Metaphor: Faith, Buffy, and the Dance of Manipulation

At first glance, the combat sequence mirrors a captivating dance. However, delving deeper, there’s an undercurrent of control, manipulation, and influence. Drawing a parallel to a marionette show suggests that Faith is the puppeteer, pulling Buffy's strings, swaying her actions and decisions. This raises an intriguing query: How susceptible are we to the influence of charismatic yet morally ambiguous friends?

Challenging "Bad" Through a Puritanical Lens

Yet, Whedon's representation of "bad" isn't straightforward. It challenges societal norms, especially as seen through a puritanical network standard. The series throws a question to its audience: What defines "bad"? Is it having multiple romantic partners? Is it embracing one's sexuality through dance? Is Faith 'bad' or is Buffy 'uptight.'

A Return to Central Plot: The Importance of Angel’s Arrival

As engrossed as viewers become in the dynamic dance between Faith and Buffy, the narrative doesn't lose sight of its central plot. Angel's sudden appearance and the crucial information he shares about the demon and amulet pull us back into the primary narrative. This plot point ensures the story remains rooted in its core theme, emphasizing the consequences of actions and the balance between good and evil.

Jungian Individuation

It is during this clash that viewers witness a tangible representation of Jungian individuation, a process where an individual confronts and integrates the unconscious aspects of their personality to achieve wholeness.

Jung's ideas of individuation revolve around reconciling opposing forces within oneself, delving deep into one's shadows and bringing them to light. The essence of this process isn't the mere eradication of these shadows or errors but acknowledging and taking accountability for them. Our very moral fabric is gauged not by the absence of errors but by the accountability we assume for our missteps. This very tenet forms the crux of the episode "Choices", shedding light on how Buffy and Faith grapple with their personal demons, decisions, and moral compass.

Similiarly, Superman's inner conflict, characterized by his duality, culminates in a symbolic confrontation, representing the paradigms of morality and amorality. The essence isn’t just the absence of errors but the accountability taken for them. As addressed earlier, the hallmark of one's integrity lies in accountability. While Buffy admits her consequences in Ted, Faith is ensnared in denial and justification, showcasing her defensive barriers and trauma with shame. Yet are we to trust Faith would be aquitted and get a fareshake? Was Buffy a fairwheater friend and eager to get back to being the sole Slayer of Sunnydale?

Critical Moments and Narrative Arcs:
A pivotal critique revolves around Allen’s unfortunate demise. Buffy’s exclamation, “Faith, no!” juxtaposed against Faith’s accidentley killing him inadvertently paints Faith as overly impulsive.

Complex Relationships and Altercations:

The episode weaves intricate relational threads, be it through sultry vampire chases or the nuanced chemistry between Buffy and Angel. The renewed Balthazar's quest for his amulet intertwines with Mayor Wilkins's perilous encounters, especially when Allan, the Mayor's confidante, meets an untimely end. This climaxing moment, with Buffy exclaiming, “Faith, you don’t get it. You KILLED a man,” and Faith's relentless contrarianism and one-ups manship, "No, YOU don't get it. I don't care," encapsulates their evolving dynamics.

In my opinion this critical juncture presents a missed opportunity to explore the moral ambiguity concerning Buffy. While 'Bad Girls' hints at deeper philosophical undertones, these are yet to be explored in the ensuing narratives. The episode provides a captivating return to Faith and the Mayor’s evolving stories, propelling 'Season 3' towards its climax in 'Graduation Day'.

Narrative Foreshadowing and Duality:

"Bad Girls" stands emblematic of shadow-selves, an echoing motif this season. Recollections from episodes like "Faith, Hope & Trick" and "Revelations" offer a nuanced backdrop to Faith's trajectory. Her parallel to Buffy is further accentuated when pondering over Buffy's dark episode in "Ted". While Buffy's transgression was driven by intent, Faith's was an act of sheer impulse. These intersections compel viewers to question the boundaries of heroism and villainy. "Bad Girls" is a masterclass in character development, moral intricacies, and the interwoven destinies of its central figures.