With the current plethora of images of split psyches in films and fantasy-based television it would seem that we are currently in need of allegories that articulate a crisis in the sovereignty of the ‘ego’. In this paper I will focus on literal bodily splits that occur so often in Buffy the Vampire Slayer. The thematic focus on loss of autonomy and the literal mapping of internal conflict onto the body, resonates, I argue, with more general cultural anxieties around identity. I also suggest that Willow’s use of magic, which is inseparably connected to her ‘split’ character, is figured as a language aligned with text and knowledge during the close of Season six; ‘dark Rosenberg’ is also reminiscent of Willow’s evil vampire double from Season three through the phrase ‘bored now’. ‘Dark’ Willow’s use of language has changed dramatically with the changing face of her use of magic, and is also at odds with ‘normal’ Willow’s language. Willow’s power is made apparent through her use of magic as (giving expressive form to her power and her conflicts with power) her language and as her own ‘law’. This goes against Buffy’s assertion that she is the ‘law’. In analyzing the linguistic and physical expression of Willow’s character, this paper makes the case that psychoanalytic discourse itself has had an influence on the creation of this new splitting and doubling theme/myth.