[1] The episode, generally unpopular, shows Buffy and some classmates getting drunk on beer brewed by a warlock, with ensuing hijinks.
In a daydream during one of Professor Walsh's classes (pointedly, about the role of the id in Freudian psychology) she saves Parker's life and he swears to do anything to get her back.
Oz and Willow are in The Bronze together, but he feels a strange connection to the pretty singer Veruca when she gets on the stage with her band Shy.
When her four drinking buddies turn into violent Neanderthals, he learns that the owner of the pub has been adding a mystical potion, which a warlock taught him, to make ensorcelled beer as revenge for 20 years' worth of college kids taunting him.
Though afraid of the flames and unable to figure out how to use an extinguisher, Buffy saves Willow, Parker, two students captured by the Neanderthals, and her erstwhile drinking buddies.
"Beer Bad" is written with a classic frame structure — Buffy's dream — that emphasizes her development; hitting Parker with a stick qualifies as poetic justice.
Producer Doug Petrie says, despite the intensely negative reaction of the fans to seeing Buffy being "battered about by the forces of college" and being treated so callously by Parker, they had to "ride that out" until this episode because "we didn't want her to find her strength immediately in this new setting".
"[2] In an interview, David Solomon revealed doubts he and Whedon had about the quality of the episode: "The fourth season's Beer Bad wasn't everyone's cup of tea, especially with Buffy fans.
"[4] Vox, ranking it at #144 of all 144 episodes (i.e., the worst), writes, "It speaks volumes about the quality of Buffy the Vampire Slayer that the episode almost universally agreed to be the worst of the series still manages to boast some sharp dialogue, physical and verbal humor, and even a dang Emmy nomination (for Makeup and Hairstyling).
"[6] A BBC reviewer complained about its "American puritanism"[7] and Slayage criticized writer Tracey Forbes for delivering a trite and obvious message in a series containing "such an abundant feminist subtext".
[9][10][11] This plot was written with the plan to take advantage of funds from the Office of National Drug Control Policy available to shows that promoted an anti-drug message.
[12] Funding was rejected for the episode because "[d]rugs were an issue, but ... [it] was otherworldly nonsense, very abstract and not like real-life kids taking drugs.