“The L Word” Recaps: 4.10 “Little Boy Blue”

 
 

Breakfast — Shane, Paige and Jared are enjoying their ice-cream breakfast. I’m still just enjoying Paige’s hat. Shane must like it too, because she starts to make amends:

Shane: Listen, I’m sorry I never called you back, and for the way I snapped at you. I shouldn’t have done that.
Paige: [nodding] I’ve missed you. And I’ve missed our, um … [looking at Jared] our, um story time. That one story in the car … that was the best story I have ever heard.
Shane: Well, I uh … you know … I thought of some new stories. If you want me to read ‘em to you.
Paige: Of course. Will you listen to some of mine too?
Shane: Yeah. Yeah, I’d love to.

Look at Paige’s dimples! She’s sweeter than that pink ice cream she’s eating.

This "stories" thing is both dorky and delightful. I give you credit for this one euphemism, ezgirl. No more. One euphemism does not an episode make.

Shane is apparently very eager to get to story time. She asks Paige to accompany her to Bette’s dinner party tomorrow night. Paige says, "Of course," as if she’s known all along that Shane would eventually come to her senses.

I guess it won’t be a musical after all — Silly me for thinking Jenny’s "I love it!" was conclusive last week. She and Tina are meeting with yet another director. Thankfully, this one isn’t a real-life director — my head was starting to spin with all the meta-rific machinations in the last episode.

The director is Kate Arden, played by Annabella Sciorra. IMDB tells me that Sciorra was named one of the Promising New Actors of 1990. How’s that workin’ out for ya, Annabella?

Speaking of directors, this episode is directed by Karyn Kusama, who wrote and directed Girlfight. I like that movie.

Kate Arden is talking about her vision for Lez Girls. She wants the first Jessie-Karina encounter to be very intense: "The sound should just, like, fade away, so it’s only them in the world. It’s just Jessie and Karina."

Tina and Jenny both love that idea. Tina remembers a visually intense moment in one of Kate’s films. She saw it at Sundance and it blew her away.

Tina: [to Jenny] She won the audience award.
Jenny: [cattily] I saw the film, Tina.

Hey, Jenny and Tina, could you two kind of proceed right to the fistfight you’re both longing to have? ‘Cause, well, we’re all ready for it. My money’s on the blonde.

Judging by the way they’re both looking at Kate (and the way she’s looking at them), they might have that smack down sooner than later:

Kate: It’s a struggle to try to do something that you really believe in and to stay true to your vision with all these f—ing Hollywood suits trying to pigeonhole you.
Jenny: Totally.
Kate: [looking at Tina] Present Hollywood company excluded. Although you would look really hot in a suit.
Tina: Thank you.

Look at Tina’s face. That’s sweet. Don’t look at Jenny’s face: You’ll die, if looks can kill. She’s a modern-day Gorgon!

Kate decides to lay it all on the line.

Kate: [to Jenny, after an awkward pause] I was so turned on by your story because I just thought, you know, this is me. This is, uh, people I know; people I’ve slept with. [sighing] You know, I’m not about bulls—. I really am not that interested in making people feel f—ing comfortable, you know? So, I want to make movies that say something. I would really love to direct the film.
Tina: [to Jenny] What do you think?
Jenny: I think we’ve found our director.

Oooh, look at Tina’s arched brow. No matter what we’ve found, I’d say we’ve found ourselves very close to pushing Ms. Kennard over the edge. Smack down!

Also, Kate? Er, Annabella? I think you’ve been tainted by the writer’s voice in this little scene. I can imagine one Ms. Elizabeth Ziff blithely saying she’s really "not that interested in making people feel f—ing comfortable." Most well-mannered (or even averagely mannered) people, however, would abstain from hurling such an appalling remark at new acquaintances. So that’s strike one for you. We’ll see how it goes.

Bette’s office — Jodi is still aghast at Bette’s party-planning proclivities.

Jodi: There are 11 people on the list. You’re making a chart for seating?!
Bette: I know, I know, I know. But you know what? Seating is very important at a dinner party. It is. It’s just all a part of making it flow better. That’s all.
Jodi: It’s a small dinner party, not my debutante ball.

That’s what you think, Jodi. With Bette, pretty much everything is a ball. Often one that’s just asking to be busted.

Jodi tells Bette to relax. Bette insists that she’s relaxed; she just wants everything to be perfect for Jodi. Before Jodi can protest further, Bette pulls her onto her lap for a kiss.

Bette: [responding to a knock on the door] Not now, I’m busy!

It’s a nice idea, but I have to quibble with the execution: What’s going on with those kisses? Where’s the open-mouthed hotness we’ve enjoyed between Bette and Tina? Jodi, you have some ‘splaining to do.

A motel room — Max and Grace are settling in. Max apologizes for dragging Grace into the family stuff, but Grace says everyone needs a witness to this sort of thing. Have I mentioned that I like you, Grace? Max does too — that’s abundantly clear.

By the way, my dad (who was also fond of slurs at the time) once explained that the difference between a motel and a hotel is that you "motor up" to a motel — you can back right up to the door. So my sister promptly asked, "Oh, and you can ‘hotor up’ to a hotel?" Just an aside.

There’s a knock at the door. It’s Max’s dad. He has brought a gift for Max: his mother’s charm bracelet. She wanted him to have it. Grace senses that they need a moment alone, so she steps outside.

Dad: What Sioban said today … whenever your mother and I talked about you, we’d end up fighting, and so, after a while, we just stopped talking about you. And I … I didn’t know that she felt that way. I didn’t know that —
Max: I wanna say goodbye to mom. And I’d like to stay for the funeral.
Dad: There’s a wake at the house tomorrow. You and your friend can come if you want.

Sometimes "you can come if you want" feels like everything you’ve ever wanted. Now is one of those times for Max.

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