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Tickets for our Bob’s Burgers party are going very, very fast and it’s definitely going to sell out soon. Get yours today if you want to come sing-a-long to Gene’s fart song!

We’re nearing the end of the third season of Girls and Adam and Hannah have been here together in some capacity from the beginning. They’ve grown together in ways that conceivably neither of them have been paying much attention to. For Adam, much of his time and attention has been directed towards Hannah and Hannah has remained rather complicit in this arrangement. It’s her who needs this attention and this has worked for most of their relationship. In “Role Play” we see the roles shift. Adam now has something new to focus on and Hannah fears that the changes she was warned about when Adam first became a working actor are happening and she must do something to fight against them.

Hannah’s been changing too. She’s taking shots with co-workers and staying out too late and getting hosed down in the tub by gentlemanly Joe after throwing up in the middle of the sidewalk. This lack of control is new for Hannah and it surprises her when she rushes home in last night’s clothes to find that Adam is more concerned with making sure his coat collar is appropriately fashioned to get him into character than he is with Hannah’s whereabouts. Maybe it’s too much of a jump for Hannah to assume that this disinterest in her night translates into a disinterest in her, but it’s a jump she makes nonetheless. It’s her mistake that she doesn’t simply ask Adam if he’s bored and instead just assumes that he must be.

Marnie is attempting to crawl out of her boredom by humbling herself and approaching Soojin about possibly working with her at the gallery. She cloaks her pitch in admiration, telling Soojin that she would love to be a part of a project like this from the beginning, but is stunned when Soojin offers her a position as her assistant. Marnie still can’t get over herself and her belief that she deserves better than nearly everything presented to her. It’s interesting then to see her in a hipster jam session with Desi, who encouragingly tells her that she’s a “wordsmith” as she questions every artistic move she makes. Marnie, however, is a calculated girl and I would bet that this insecurity bit is one of her many rules of attraction, a role she plays to get men to fall in love with her, and not a sincere vulnerability.

Hannah talks out her relationship woes with Elijah over burritos, telling him that Adam treats her “like an ottoman with a vagina,” which sounds like an unsexy and uncomfortable position to be in, but also one that Hannah has resigned herself to. Her solution is to surprise Adam with a night of being a completely different person, transforming into a Long Island housewife with an inattentive hedge fund husband. Adam doesn’t get it, but he loves Hannah and so he plays along for as much of it as he can. The moment it ends is the moment in which we see how much Adam has changed and how absent Hannah, and maybe us, have been for the transformation. “You have an old idea of who I am,” he tells her, reminding her that he’s an addict and that for a time sex and women took the place of the substances he had abandoned. He finally admits what we have always known: he has always cared about his career and this new path that he’s on in particular. He is doing well now, they both are, and he no longer needs the stories and the fantasies to make him feel something – he just needs Hannah. It’s somewhat unnerving how quickly this sweet moment turns into a sad one, as Adam tells Hannah that he’s going to stay at Ray’s during rehearsal because he needs to focus more fully on the play. It’s a decision that Hannah is unwilling to accept. She doesn’t get why he would need space and what’s ultimately the most devastating is the realization that she doesn’t get Adam.

It’s Shoshanna who is successful in taking on a role that she is not accustomed to. She intervenes in Jessa and Jasper’s coke-fueled romance and finds his estranged daughter, Dottie, who is living in New York and loves her father despite knowing exactly who he is. The uncomfortable dinner arrangement angers Jessa who has now completely lost whatever control she may have had over Jasper and maybe even her own life as well. To be honest, I’m not at all sure what Shoshanna’s motives are here. It’s completely out of character for her to step in like this, but maybe she’s retained some of the alcohol-induced brutal honesty and confidence she had at the beach house. Earlier this season she described Jessa as one of the easiest people to live with and it could be the understanding that she was wrong that motivates her to do something that might facilitate Jessa leaving. Or it could be seeing up close that Jessa’s toxicity has now spread to families, daughters like herself, and for Shoshanna this is enough. Whatever it is, it worked, and I’m interested to see if this shift for Shoshanna will stick because I’ve been worried about this girl the entire season.

Every so often my two boys will start watching a new cartoon and as a parent who is obsessed with TV I need to keep in the loop. They lead me to watch such great shows as Gravity Falls, Regular Show, and Steven Universe. The latest show in their rotation is Nickelodeon’s Sanjay and Craig.

Produced by Pete And Pete co-creators Will McRobb and Chris Viscardi, the show tells the story of an Indian-American boy, Sanjay, and his best friend, Craig. The two go on a series of adventures, all predicated on and hindered by the fact that Craig is a snake. The Calvin And Hobbes-like dynamic makes for tons of wacky adventures: In the first episode, the two protagonists attempt to witness a butt transplant and try to find new laughs after being convinced that theirs are the worst. So, yeah, it’s pretty weird and juvenile—but in a great way.

Voiced by Maulik Pancholy (30 Rock’s Jonathan) and Chris Hardwick respectively, Sanjay and Craig are an incredibly endearing twosome. They have secret conferences inside Sanjay’s shirt and a giggly language that, while it’s clearly just meant for the two of them, is easily grasped by anyone jumping into the series. The series’ ancillary characters, like Sanjay’s doctor mom or the duo’s pageant-girl neighbor, Megan (Linda Cardellini), are also pretty great. Sanjay and Craig also have a weird neighbor, Mr. Noodman (Tony Hale), who hates snakes and wants to kill Craig, but the threat never gets so serious as to endanger either Craig or any of the show’s action. (via)

New episodes air on Saturdays and the show has already been renewed for a second season. If you’re looking for a place to start my boys told me their favorite episodes are ‘Laked Nake’ and ‘Fart Baby’. Sanjay and Craig should be in your TV viewing rotation.

Are you ready for our next TV Hangover event? On March 21, we’re going to celebrate a show near and dear to our hearts: Bob’s BurgersBob’s Burgers is, in my opinion, the funniest show on television and the Belchers are my favorite animated family. Come join your TV Hangover editors as we watch a few episodes, talk about how awesome Tina Belcher is, play drinking games, and host a few rounds of trivia where you can win free drinks and some Bob’s Burgers prizes. 

Dress up! Write some erotic friend fiction! RSVP and tell us which episodes you’d like to watch

Tickets are only $5 and it’s recommended that you get them soon — our last event sold out in advance and this one definitely will. 

March 21 at 8:00pm
Videology
308 Bedford Ave. 
Brooklyn, NY

First Teaser for FX’s Fargo.

The show premieres on April 15.

Our Firefly party is THIS Friday! Come to Videology for drinking games, trivia, and aim to misbehave. We still have a few tickets left so get them while you can.
February 28th at 8:00pmVideology Bar308 Bedford Ave. Williamsburg, Brooklyn, NY

Our Firefly party is THIS Friday! Come to Videology for drinking games, trivia, and aim to misbehave. We still have a few tickets left so get them while you can.

February 28th at 8:00pm
Videology Bar
308 Bedford Ave. 
Williamsburg, Brooklyn, NY

Things are looking up for Hannah and Adam. She’s meeting Patti LuPone about a bone density drug advertorial; he’s sitting in a waiting room on a callback for a part in a Broadway revival of Major Barbara, declaring that he’s “not here to make friends.” Adam then immediately makes a friend and Hannah is informed that her subject won’t be joining her five minutes before their meeting time. Being stood up by Patti LuPone doesn’t stop Hannah from tracking her down and getting that interview, during which she quickly learns that most of her job is fake and that Ms. LuPone doesn’t know shit about osteoporosis. This, however, is fine for our Hannah because she’s a quick witted and determined writer. She can roll with the punches. 

The perpetually chill Adam, who is actually a talented actor who has perhaps always been aware of his talent but unwilling to share this fact with those in his life, is offered the part on the spot and then retreats to the bathroom to allow himself a muffled scream of excitement. Meanwhile, Hannah receives her first paycheck and begins to indulge in the joys of financial independence. The two seem to be doing great. Initially Hannah is the super supportive partner who couldn’t be happier for Adam’s success to match her own. But Patti LuPone’s insistence that things are going to change in Hannah and Adam’s relationship now that he’s a Broadway actor and will “start fucking everybody in the building” puts Hannah on a path of insecurity, making her question even the innocuous “have fun” uttered to her by her boss after giving her a 16 Reasons We’d Love To Stay At The Gramercy assignment. 

Marnie runs into Soojin, Booth Jonathan’s former assistant, and the two have an awkward stroll down the street with their fro-yo. Soojin’s no longer living that assistant life and has transformed into an entrepreneur who is in the process of opening her own art gallery. She is living the life that Marnie should be living. Instead, Marnie is still miserable and confiding a lot of that miserable in Ray, whom she is nearly cohabitating with and whose companionship seems to have become the one constant comfort in her life. It’s Ray though who wants a change. He wants more out of a relationship and knows that he’s not going to get that from Marnie. It’s a double blow for her because she has been dumped by a guy whom they both know is not in her league when she is still grieving the loss of who she thought may have been the love of her life, but also because she really does care about this relationship but is too hurt and embarrassed to admit it to either Ray or herself. But you don’t bring in your fuck-buddy’s Netflix envelopes, Marnie. You just don’t. 

Jessa is recognizing the soul-sucking and mundane tenacity of so many day jobs and has been managing it by being her own entertainment at the children’s clothing store, spanking a dummy in the store window one second, flipping off customers from the stoop the next. But despite how inappropriate Jessa’s behavior may be, she still showed up; she’s going through the motions like everybody else. I’m also in awe of Jessa’s ability to convince anyone to allow her to be in charge of the store at all, but that’s really just evidence of her ability to prove herself to be a responsible adult when she needs to. Of course when she seems to be doing all right, her boredom from her job collides with the return of Jasper, her creep of a father figure from rehab, who essentially stalked her with the explicit intent of fucking up her sobriety. I wanted to believe that Jessa had come far, that even though her latest rehab stint seemed to be a joke to her that she still may have retained some of the skills to avoid falling back into old habits and knowing how to respond to a situation like Jasper in a way that got her out unscathed – or at least not on her hands and knees at her place of employment picking through boxes for coke money. 

“Incidentals” concludes at the comped Gramercy hotel room with everyone gathering to celebrate Adam’s impending Broadway success. He brings his new BFF, Desi, who brings the aura of a former One Tree Hill star that both Elijah and Shoshanna are mesmerized by, and an acoustic guitar. Jessa brings Jasper and a cocaine high. Marnie brings the box of pizza she inherited in her and Ray’s break-up. Hannah’s insecurities continue to plague her as even her friends question how this new role could change her relationship and her life. Elijah’s concerned with educating Hannah on her “new moneyed lifestyle” and wondering how much she gets in incidentals and Shoshanna bluntly asks if she’s afraid that Adam is going to leave her for a Broadway harlot. She’s on edge when Marnie shuts herself in the bathroom upon her arrival, although it wouldn’t be out of the realm of possibility in their relationship for Marnie to be mad at her and for Hannah to not know why. But it’s not about her and Hannah doesn’t ask. 

These girls are sad and something about it feels familiar. Jessa is an addict and her friends are realizing that Jessa has to be the one who wants help. Marnie has no idea how to cope with this type of rejection and has made the mistake of excluding her friends in a way that makes them unable to help. Shoshanna has reverted back to the one who falls back while her friends work out their neuroses. It’s Hannah, however, who has figured out how to handle things differently. She recognizes that she’s spiraling and talks it out with her boyfriend like a rational adult in a rational adult relationship because that is exactly what they have. Adam’s a very talented actor and Hannah’s a very talented writer; they’re good to one another and they’re both very lucky. Everything else is just incidental. 

Guest Post: Elaine Paddock is a writer in Boston.

The very first incarnation of The Tonight Show may be ancient history, but Steve Allen’s first monologue from 1954 exists in some visual form for everyone to see. In this iconic opening, Steve Allen says: “This show is going to go on forever.” And, if you consider the lifespan of a housefly, the show has indeed gone on forever.
But what show did NBC bring to American TV for over 60 years? What show broadcast mightily from New York City until 1972, when California stole it away? What show brought jokes, gags, iconic musical performances, and smiles to the airwaves every weeknight at 11:35 PM? If you’re saying, “The Tonight Show,” you’re right. If you’re saying, “But Will, we already established this article was about The Tonight Show,” you’re wrong.
This article is about The Tonight Show Starring Jimmy Fallon. Ladies and gentlemen: This is what the show was meant to be.
The allure of The Tonight Show is not the jokes. It’s not the special guests. Any funny guy or gal can set up a camera in a studio and make a late-night show. What people come for — as Will Smith aptly put it in his special guest appearance — is the heart. Carson had heart. Leno has heart, most of the time. Conan has heart, which you can see if he takes off his shirt. The reason Jimmy Fallon is behind that desk from now until whenever is because he loves his job, his viewers, and his life. He’s just a good upstanding guy. His nod to Mom & Dad Fallon in the monologue proved that, although it barely needed proving.
Jimmy’s start also marks The Tonight Show's first broadcast from New York in over 40 years. Why did the show leave in the first place? Some say Johnny Carson got tired of the weather. Some say the network did it. Others say Johnny was so famous in New York that he was constantly mobbed. In that case, moving to LA seems like a terrible idea. And of course, it was terrible for New York. But with Fallon at the reins and the Roots set up in Studio 6-B, the lights shine bright at 30 Rock again. Note that 6-B is the same studio where The Tonight Show began in 1954, which means that on September 27, the show will celebrate its 60th anniversary “at home.” (Unfortunately, Steve Allen will not be available.)
But enough of the show as a whole. This first episode proved all of the groundbreaking new ways the Tonight Show was going to evolve, or — in some cases — revisit old ideas. The opening monologue saw Jimmy introduce himself, his parents, Steve Higgins, and The Roots, as if the show were a brand new entity from Late Night. Then he came out to a second introduction and performed his monologue, which — while not his strongest — was a promise of good things to come. It felt like a well-rehearsed pilot which went off without a hitch.
The toss to the desk was smooth, and then came the next bit, which proved that the night would be magical. Jimmy called out, “To my buddy who said I’d never host The Tonight Show: You owe me 100 bucks!” Then the buddies came out: Robert DeNiro, Tina Fey, Tracy Morgan, Lady Gaga, Kim Kardashian, and Mariah Carey, to name a few. Joan Rivers even came out for a kiss, which ends her long-running ban on the show. To end the parade, Stephen Colbert came out, dumped 10,000 pennies on Fallon’s desk and body, and screamed: “Welcome to 11:30, bitch!” It was a stunning display of celebrity support which left the audience both in-house and at home speechless. But of course, no one was more excited than Jimmy.
Higgins introduced the next segment: A parody of The Evolution Of Dance with Jimmy and special guest Will Smith. The segment, “The Evolution Of Hip-Hop,” is based on a dated Youtube video, but the laughs were there, and that’s what matters most. Jimmy has a way of taking old ideas and giving them life again, so this sketch went off without a hitch. Some other critics might disagree, but the audience liked it throughout, and that’s a litmus test if there ever was one.
Then came U2’s musical performance, which immediately stood out as the highlight of the night. Playing on the Top Of The Rock, U2 performed “Invisible” with a drumline from Rutgers University. The cameras swirled around the band as the crowd cheered and danced at an intimate distance. Better yet, the natural background of the New York City sunset reminded viewers where the magic was happening. It was like something out of Disney World, if Disney World did late-night comedy. (Now there’s a wacky thought.) Hopefully this becomes a regular occurrence, since all we’ve had for outdoor musical performances on late night has come from Jimmy Kimmel. And be honest: Do you watch Kimmel? There can be only one Jimmy at 11:35. ABC had better start looking for a guy with a different name.
Will Smith came out again to hang out with Jimmy, where they talked about Olympics, their daughters, and T-shirts. It was a reminder that Jimmy doesn’t do clean-cut interviews. Leno does interviews. Conan does interviews. Letterman doesn’t do interviews. But Letterman doesn’t do interviews because he likes to crack jokes. Jimmy doesn’t do interviews because he likes to have fun. If Jimmy could cut the interviews and just play ping-pong with his special guests, I’m sure he would. He’d love that, and — probably — so would the world.
After Will came U2 again, and Jimmy asked Bono to make a speech about his coffee cup. Bono played along, of course, since this is the Tonight Show and you’ve got to have fun if you’re sitting on that couch. After a Nelson Mandela name-drop, Jimmy asked the band to play an acoustic version of their Golden Globe award-winning song, “Ordinary Love.” So they did, and halfway through, they asked Jimmy and the Roots to play along. If U2’s concert on the Top Of The Rock was the highlight of the night, their performance in Studio 6-B was the icing on the cake. You could tell from here how important and iconic Jimmy’s become. Bono’s asked him to sing along with U2. Will Smith is dancing with him on stage. He’s got millions of people watching him smile on TV.
It’s worth mentioning here that Carson began hosting the tonight show at the age of 36. Leno was 42 when he began his tenure. Jimmy is 39, and with those few years on his predecessor, he’s introduced a younger vibe to the show. He’s got Twitter. He’s got Tumblr. He’s got a dog and a baby. He’s got no gray hairs to speak of yet. The older audience might leave with Leno, but a crowd of fresh faces is coming in for Fallon, and they’re not going to bed anytime soon.
Everyone gets older. Leno got older, Carson got older. Jimmy Fallon will most certainly get older. TV show hosts do that. But one thing’s for certain: Jimmy’s made his mark on the Tonight Show, and as Steve Allen said 60 years ago, it’s going to last “forever.”
Guest Post: Will blogs at socratescloset.tumblr.com

The very first incarnation of The Tonight Show may be ancient history, but Steve Allen’s first monologue from 1954 exists in some visual form for everyone to see. In this iconic opening, Steve Allen says: “This show is going to go on forever.” And, if you consider the lifespan of a housefly, the show has indeed gone on forever.

But what show did NBC bring to American TV for over 60 years? What show broadcast mightily from New York City until 1972, when California stole it away? What show brought jokes, gags, iconic musical performances, and smiles to the airwaves every weeknight at 11:35 PM? If you’re saying, “The Tonight Show,” you’re right. If you’re saying, “But Will, we already established this article was about The Tonight Show,” you’re wrong.

This article is about The Tonight Show Starring Jimmy Fallon. Ladies and gentlemen: This is what the show was meant to be.

The allure of The Tonight Show is not the jokes. It’s not the special guests. Any funny guy or gal can set up a camera in a studio and make a late-night show. What people come for — as Will Smith aptly put it in his special guest appearance — is the heart. Carson had heart. Leno has heart, most of the time. Conan has heart, which you can see if he takes off his shirt. The reason Jimmy Fallon is behind that desk from now until whenever is because he loves his job, his viewers, and his life. He’s just a good upstanding guy. His nod to Mom & Dad Fallon in the monologue proved that, although it barely needed proving.

Jimmy’s start also marks The Tonight Show's first broadcast from New York in over 40 years. Why did the show leave in the first place? Some say Johnny Carson got tired of the weather. Some say the network did it. Others say Johnny was so famous in New York that he was constantly mobbed. In that case, moving to LA seems like a terrible idea. And of course, it was terrible for New York. But with Fallon at the reins and the Roots set up in Studio 6-B, the lights shine bright at 30 Rock again. Note that 6-B is the same studio where The Tonight Show began in 1954, which means that on September 27, the show will celebrate its 60th anniversary “at home.” (Unfortunately, Steve Allen will not be available.)

But enough of the show as a whole. This first episode proved all of the groundbreaking new ways the Tonight Show was going to evolve, or — in some cases — revisit old ideas. The opening monologue saw Jimmy introduce himself, his parents, Steve Higgins, and The Roots, as if the show were a brand new entity from Late Night. Then he came out to a second introduction and performed his monologue, which — while not his strongest — was a promise of good things to come. It felt like a well-rehearsed pilot which went off without a hitch.

The toss to the desk was smooth, and then came the next bit, which proved that the night would be magical. Jimmy called out, “To my buddy who said I’d never host The Tonight Show: You owe me 100 bucks!” Then the buddies came out: Robert DeNiro, Tina Fey, Tracy Morgan, Lady Gaga, Kim Kardashian, and Mariah Carey, to name a few. Joan Rivers even came out for a kiss, which ends her long-running ban on the show. To end the parade, Stephen Colbert came out, dumped 10,000 pennies on Fallon’s desk and body, and screamed: “Welcome to 11:30, bitch!” It was a stunning display of celebrity support which left the audience both in-house and at home speechless. But of course, no one was more excited than Jimmy.

Higgins introduced the next segment: A parody of The Evolution Of Dance with Jimmy and special guest Will Smith. The segment, “The Evolution Of Hip-Hop,” is based on a dated Youtube video, but the laughs were there, and that’s what matters most. Jimmy has a way of taking old ideas and giving them life again, so this sketch went off without a hitch. Some other critics might disagree, but the audience liked it throughout, and that’s a litmus test if there ever was one.

Then came U2’s musical performance, which immediately stood out as the highlight of the night. Playing on the Top Of The Rock, U2 performed “Invisible” with a drumline from Rutgers University. The cameras swirled around the band as the crowd cheered and danced at an intimate distance. Better yet, the natural background of the New York City sunset reminded viewers where the magic was happening. It was like something out of Disney World, if Disney World did late-night comedy. (Now there’s a wacky thought.) Hopefully this becomes a regular occurrence, since all we’ve had for outdoor musical performances on late night has come from Jimmy Kimmel. And be honest: Do you watch Kimmel? There can be only one Jimmy at 11:35. ABC had better start looking for a guy with a different name.

Will Smith came out again to hang out with Jimmy, where they talked about Olympics, their daughters, and T-shirts. It was a reminder that Jimmy doesn’t do clean-cut interviews. Leno does interviews. Conan does interviews. Letterman doesn’t do interviews. But Letterman doesn’t do interviews because he likes to crack jokes. Jimmy doesn’t do interviews because he likes to have fun. If Jimmy could cut the interviews and just play ping-pong with his special guests, I’m sure he would. He’d love that, and — probably — so would the world.

After Will came U2 again, and Jimmy asked Bono to make a speech about his coffee cup. Bono played along, of course, since this is the Tonight Show and you’ve got to have fun if you’re sitting on that couch. After a Nelson Mandela name-drop, Jimmy asked the band to play an acoustic version of their Golden Globe award-winning song, “Ordinary Love.” So they did, and halfway through, they asked Jimmy and the Roots to play along. If U2’s concert on the Top Of The Rock was the highlight of the night, their performance in Studio 6-B was the icing on the cake. You could tell from here how important and iconic Jimmy’s become. Bono’s asked him to sing along with U2. Will Smith is dancing with him on stage. He’s got millions of people watching him smile on TV.

It’s worth mentioning here that Carson began hosting the tonight show at the age of 36. Leno was 42 when he began his tenure. Jimmy is 39, and with those few years on his predecessor, he’s introduced a younger vibe to the show. He’s got Twitter. He’s got Tumblr. He’s got a dog and a baby. He’s got no gray hairs to speak of yet. The older audience might leave with Leno, but a crowd of fresh faces is coming in for Fallon, and they’re not going to bed anytime soon.

Everyone gets older. Leno got older, Carson got older. Jimmy Fallon will most certainly get older. TV show hosts do that. But one thing’s for certain: Jimmy’s made his mark on the Tonight Show, and as Steve Allen said 60 years ago, it’s going to last “forever.”

Guest Post: Will blogs at socratescloset.tumblr.com

For a lot of us, your 20s are when you first learn how to form relationships that extend far beyond matters of convenience. For the first time you’re able to create your own community and make your picks based on more than who happens to live on your street, take your bus, or has nearly the same first semester schedule as you. You figure out which personalities mesh with yours, which don’t, and how much of this matters when choosing whom you spend your quickly dwindling free time with. In “Beach House” our four girls are faced with the realization that their friendships may only still exist because they have for so long 

Marnie has put together a Long Island retreat and you can tell that she believes that this is her true self. She’s placing nametags on beds, arranging flowers in the kitchen, and staring longingly out at the ocean – and doing it all so well – before picking up Hannah and her ill-fitting onesie from the jitney. It’s clear from the beginning that Hannah and Marnie’s relationship is not the same – there has been a shift that they’ve never recovered from. You can see the uneasiness on Hannah’s face as she tries to convince both Marnie and herself that this is going to be the great weekend that they all needed. The fact that Hannah even showed up shows that she’s trying and that she hasn’t given up on salvaging this friendship. It’s Marnie’s insistence that she and her friends “have a lot of healing to do” that is disconcerting because she seems to be the only one interested in this and the only one who has even the slightest idea as to why this would be something that matters.

When Hannah runs into Elijah (as she’s living my absolute anxiety nightmare of being nearly naked and asked to leave a store), she’s initially miserable about having to abruptly confront Elijah with no warning and embarrassed because she’s traipsing around North Fork in bare feet and a bikini and has just learned that this is unacceptable. It’s Elijah who almost immediately apologizes, telling Hannah that he thinks about her all the time and that he misses her. Hannah accepts his apology just as quickly and invites him and his friends (and his new boyfriend who isn’t particularly nice to him but who we later learn is probably the best in this whole crew at being honest about what he wants in a relationship) back to the beach house hoping to ease some of the quickly mounting tension and avoid a group hair braiding and prayer session.

A mix of alcohol and pure grief fuels the next few hours and is so completely reminiscent of my own frenzied nights in my early 20s that I feel as though I can anticipate exactly what happens next and yet I’m still never prepared for it. Marnie isn’t thrilled with Hannah’s guests, still feeling awkward around Elijah and also desperately trying to hang onto the picture perfect weekend that she’s crafted, which includes dinner for four and not eight. Her and Hannah seem to make amends in a tipsy bed chat session and she lets go enough to briefly enjoy herself and let her semblance of a relationship with Ray slip to Elijah. We’re also privy to the rest of the grilled pizza story and it ends with Charlie telling Marnie that he doesn’t love her and he never did. This reveal tells us more about Marnie’s rather manic desire to be in control and to keep things as close to perfect as she possibly can. She doesn’t know what she did, or if she did anything at all, and her life was disrupted in such a traumatic way without her being able to understand why. It’s confusing for us too because this is such a far cry from the overly eager to please Charlie we first were introduced to two years ago.

Shoshanna has become a terribly rude drunk and is directing her tirade at Hannah and Marnie and their inability to be good friends to her. It’s funny in the same way it was funny to hear Ray and Marnie call each other out on their shit last week, but sad because Shoshanna is hurt by her friends’ lack of interest in her life and lashing out in such a way that hurts the most when it’s done by someone you care about and whom you think cares about you because it’s so personal. She calls Hannah a narcissist and tells Marnie that she’s “tortured by self doubt and fear.” This briefly pits Hannah and Marnie against Shoshanna instead of against each other while Jessa attempts to play peace maker. Shoshanna’s spilling her truth and for Hannah and Marnie it seems that the accusations are not as unanticipated as the source, which was precisely Shoshanna’s point. It’s not a shocking scene between four girlfriends but it put the pit in my stomach all the same.

I’m a firm believer that one of the best things that you can do for yourself as an adult is let go of relationships that don’t make you feel good. This may seem like a supremely simple and even childish way to go about life, but you have to trust me on this. The truth of the matter is: most of us have work to do all the time. The problems arise when we don’t accept this and don’t make any attempts at change because we refuse to realize that we need to. All of these girls have work to do both as individuals and as friends and I think that they could resolve their issues, but not before they first take some time to deal with what they actually are. My worry with fights like these is that it’s easier to simply wake up the next morning, chalk it all up to white wine and champagne showers, and agree to move on, leaving the legitimate issue festering at the root.

In the end Jessa emerges as the stable sober one who upon waking goes to pick up the pieces in the kitchen. It would be interesting to observe Jessa attempting to mend the relationships of her friends, but can you imagine her sticking around long enough to do that?