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The L Word: recaps: Episode 2.01 "Life, Loss, Leaving"
by Scribe Grrrl

Tina at the obgyn Bette with Candace
The L Word recap: Life, Loss, Leaving (Season 2 premiere)
Original airdate: 20 Feb 2005

THIS WEEK'S L WORD VOCABULARY:

  • Funny: Attempted suicide. No, I don't really mean that, but as a method of writing a character out of the show, it has its moments.
  • Tiresome: The phase that follows "toxic," apparently.
  • Knitter: What Alice so isn't. Well, depending on the context.
  • Evanesce: What we all wish Jenny would do.
  • S words: Better than L words. At least the S words that start with "strap" and end with "on."

THIS WEEK'S GUEST-BIANS: Arianna Huffington takes up space; Kelly Lynch gives Kit a key and then closes the door; Anne Ramsay continues to throw herself in front of the speeding Jenny train.

The lead-in — Did you watch the *look* *wait* black-and-white stylish montage thingie? I did, and I saw Bette nod to me to indicate that I'm the one she really wants. You didn't see that?

The Previously — Whoa. They just totally crammed the whole first season into a few minutes. It was like my life was flashing before my eyes, except it was a lot less disconcerting because I wasn't actually involved in any of it. Or maybe that's more disconcerting, considering how much time I've spent with these characters.

Disbelief — Tina has an appointment. With her ob/gyn. Because she's pregnant. Again. Meanwhile, Bette and Candace are kissing, or perhaps trying to suck out each other's souls; it's hard to tell. I'm in complete agreement with Tina, who can't believe this is happening — because I thought we did all of this last season.

But Tina wants "this," meaning the baby, more than ever, and she wants to keep the pregnancy a secret for a while, even though she's big as a house (and you're quite sexy, Laurel — thank you for showing your belly). She can cover it with trenchcoats, just like Scully did. Nobody will notice. Never mind that her face looks entirely different, and I mean that in a good way.

Speaking of entirely different, the little caption at the beginning said "Los Angeles, Present Day," but which day is that, exactly? Tina's pregnant, like a lot pregnant, and so how long have Bette and Candace been inhaling each other? Let's just say a while. A good damn long while. And why didn't I get to see any of that damn goodness?

Never mind: I kinda ache for Tina, sitting alone in that exam room.

The new theme song — What? No boop-de-boop? Instead we get some group that probably can't even get an audience at the Michigan fest. Okay, that was too harsh, because I know Betty is kinda cool, but what the hell? This is like a bad '80s music video, except without the random fire, big hair, and droopy lace. The only good thing about it is Alice on a motorcycle, and damn is that a good thing.

If you watch the theme song again on mute, it's a lot better. I like Bette's back (of course) and I even kinda like Jenny's nudie scene (ack), and I love everything Carmen, and I like Shane's shadow behind the Men's room door. Too bad the lyrics aren't any better on mute — because I have the captions on, which is just asking for trouble.

At least this new theme will give me something to sing other than "doot doot doodoodoot doot doot doot doot." Maybe I'll even write my own lyrics. No doubt they'll start with "Dykes in white dresses with blue satin sashes."

Writhing — Bette's writhing. In the bed. It's more than I can take, especially when I realize that someone's head is under the sheets. It's Candace, of course, doing her best to make Bette her girl, and failing. But at least she gets that moment where Bette lifts the sheet and smiles down — a moment I decide to freeze, for just a bit — before it all falls apart and Bette just can't look at her.

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