|
The L Word
recap: Lost Weekend (season 3, episode 2)
(Original airdate: 15 January 2006)
THIS
WEEK'S L WORD VOCABULARY:
-
Easy: Men. Unless you're genderqueer.
-
Progesterone: Good if you're crazy;
useless if you're a bigot.
-
The ultimate patriot act: What
Tina doesn't like.
THIS
WEEK'S GUEST-BIANS: Alan Cumming fascinates
and repulses; Cynthia Stevenson phones it in; Anne-Marie
MacDonald's huge talent is wasted; Lauren Lee Smith
wonders why she's bothered to hang around; Irene Lopez
continues to coddle Chane.
So
I should confess that I left something out last week:
in the weirdness of the student-filmish prologue,
the women who were making out at the encounter group
were named Teri and Marilyn. We know this because
their names appeared on the screen, and a line was
drawn (no doubt by the poltergeist) between their
names. I didn't say anything about it because it made
no sense to me, and also kind of ruined the moment.
But it's going to make sense in the next couple of
paragraphs, so do pay attention. I didn't, and look
what's happened: I've wasted far too much time explaining
myself.
The
Castro, 1979 — For a moment I think
Queer as Folk has been resurrected, and I
rejoice — but Brian Kinney is nowhere to be seen.
But he'd be proud of these men, who are fucking in
every position imaginable and wondering why an androgynous
woman has just stumbled into the scene. "I'm
looking for sex," she explains, and when one
of the happy gay boys suggests she try the Safeway
that's crawling with "straight hot men,"
she explains that she's looking for girls. So they
send her around the corner, and apparently she takes
the poltergeist with her, because we hear "I'm
looking for sex" and "I'm looking for girls,"
just in case we missed them the first time.
Anyway,
Teri (the one who's being haunted by the poltergeist
and who — surprise! — was having an intimate
encounter the last time we saw her) finds someone
around the corner: someone named Toni who's looking
for sex and girls too and is mercifully free of poltergeists
or husbands. It's almost good, until they speak:
Toni:
"Fuck me so I forget who I am."
Teri: "It's too late to
stop me."
No,
it's not the words, so much: it's the way they're
spoken, which is with about as much nuance and subtlety
as you get from the cross dangling from Toni's neck
as she says "Oh Jesus."
The
road — Moira and Jenny are counting
roadkill. I haven't played this game, but apparently
the first person to get to 21 wins. Can it be any
kind of roadkill? Bugs on the windshield? Brain cells
as you stare out at the endless highway or a senseless
TV show?
Jenny
says that as the winner, she must be given a prize,
so Moira tells her to open the glove. Box. Glove box.
Or glove compartment or glove locker. Whatever you
like, but it's not just "glove."
The
glove (smell it) contains a taser gun, which Moira
keeps "just in case" someone gives her shit.
Jenny's not excited about it, and is possibly also
not excited about the fact that Moira's lines are
all delivered with the sort of inflection one usually
lends to statements like "I'll have a Diet Coke."
But
the gun is not Jenny's present: Moira tells her to
open the box that's in the glove (box). Inside is
some coke — not the diet kind — and a razor
blade, the latter of which is more fascinating to
Jenny. The music gets all squeee and eeeek and pppinnngg
just to make sure we get the idea.
Let's
pause for the writer credit: AM Homes. The AM stands
for Adored and Madly-skilled.
1
/ 2 / 3 / 4
/ 5 / 6 - Next
|
