were only three walls and not a fourth wall." Albright asserts that Anya's constant preoccupation with her and others' performances indicates that she has serious doubts about her future supporting role as Xander's wife. Giles' truth, according to Whedon, is that he realizes he must not "fight my kid's battles or my kid will never grow up", which he sings in "Standing" while he throws knives at Buffy as part of her training. Whedon remarked that this touch "is the kind of complete turnaround that is a staple of the Buffy universe". Tara's heartfelt love song also has an ironic subtext; although she appears to mean that she is fulfilled by her relationship with Willow, the lyrics include multiple allusions to Willow working her manipulative will over Tara, overlaid with Tara's euphoric singing about her pleasure in their union. In Sex and the Slayer, Lorna Jowett calls the song between Willow and Tara the transformational event in their relationship, from Tara's subservient bearing towards Willow, into a relationship of equals. Two Buffy essayists note that Willow and Giles sing together at the start of the episode, but later Tara and Giles share a duet to express the diminished part each plays in their respective relationships. Although "Once More, with Feeling" allows all the characters to confess truthfully, with the exception of Willow, it does not resolve the behavior that demanded confession in the first place. At the end of the episode, Buffy kisses Spike, initiating a romance that she hides from her friends. Their relationship lasts until the end of the series, marked for a time by Buffy's loathing of him because he has no soul. Her relationship with Spike, however, allows her to feel lust and attraction, which she yearns for after being pulled back from a heavenly dimension. In The Psychology of Joss Whedon, Mikhail Lubyansky writes that, although Buffy's first step toward re-engaging with her life is telling the Scoobies the truth in the song "Something to Sing About", she does not find meaning again until the end of the season. In his essay "A Kantian Analysis of Moral Judgment in Buffy the Vampire Slayer", Scott Stroud explains that Buffy, as the central character throughout the series, is torn between her desires and her duty, in a Kantian illustration of free will vs. predeterminism, symbolized by her responsibility as a Slayer and her adolescent impulses. In earlier