London Has a New Restaurant Called 'Bubala' and Obvs I Love Itby Randi / February 17, 2020The riveting new work Everywoman finally offers a worthy counterpart to the classic 15th century morality play Everyman. Well, not ‘counterpart’ so much as ‘play that actually reflects the human condition and not just male whining’ (see e.g. Philip Roth). This short, powerful one-woman show runs the gamut of emotions, possibilities, and traumas around procreating, from abortion to miscarriage to loss to whether to bear and/or raise children at all. As Everyman’s author is ‘anonymous’, so too has the real writer behind this new work remained anonymous, so that it can be considered everyone’s story. And although it’s woman-driven storytelling, and radically so, I can’t think of one kind of person who wouldn’t feel seen by this. Sure the only full-fledged production of Everyman I’ve seen was the weird modernized take that took place mainly in a night club and infuriated me, but this Everywoman is the one that deserves the ‘universal’ status, despite the failure of the powers that be to ever attribute that to women’s work.
Obviously, there are content warnings to this show like never before. Take Dear Evan Hansen’s suicide content warning but for everything related to pregnancy and children and multiply that level by a solid thousand. The show follows the child-facing decisions of its sole performer, a captivating Jade Williams, at various points in her life when she has been pregnant, or wanted to be pregnant, or didn’t want to be, and how she felt during all of it. It also has a great deal of what I consider Next to Normal backstory about potential child loss, which was very well done and stressful and harrowing. I don’t know if anyone who has faced this sort of unspeakable loss would be able to make it through this section. The tiny room, the sole performer right there, baring her soul, it all creates such an intimacy that was breathtaking and so powerful that it was often distressing.
Despite repeatedly saying “I am Jade Williams and…” (a few too many times, perhaps, at least in the last section), this isn’t actually our fine performer’s story, and what of it actually happened to the actual writer is unclear too – but what’s the ‘truth’ is not relevant. It’s all truth, it’s all experiences that have happened to so many people and that’s what matters, not determining which parts were autobiographical on the anonymous writer’s part. Kind of missing the point chief!
The first section, with its frequent blackouts separating short, often funny statements, is cleverly done, setting a sarcastic and humorous tone but announcing how dark and real things would get. The second section, or chapter, as we learn more about this ‘Jade’ and her relationship and experiences, is a sharp contrast but equally brilliant in its ruthless openness. With sensitive and elegant direction by Amelia Sears, the tiny show accomplishes so much with effective minimal staging – a bathtub, buckets of water (that seemed to stay hot?? how!), candles (my god the candles). The final section, as Jade explains that it’s not exactly her actual life she’s been recounting, feels unnecessary since this is all about being universal tales, and so lost the tiniest bit of the magic. But overall, something this real and candid and, yes, universal is a triumph of honest storytelling.
INFORMATION
Hey yo Ev (what husbo p and I call Everyman because of that godawful Chiwetel production so I guess it’s what we’ll call Everywoman too) plays at the Bunker Theatre until Saturday Feb 22. The show is just under an hour (at press night was about 57 minutes). After a ten minute break, there is an approximately 20-minute confession by a different writer/performer every night. These confessions are private and not up for review, so I’ll simply say that I am still blown away by the clever writing and ingenuity of the one I was lucky enough to hear.
Related Posts
The Lehman Trilogy on the West End: Incredible Acting in an Early Draft Play
It’s Theatre Thursday! Today’s show is The Lehman Trilogy, currently playing in London’s West End at the Piccadilly Theatre until August 31.
When you walk away from a 3+ hour play thinking, “why didn’t they accomplish anything with that amount of time?”, you know something’s wrong. With The Lehman Trilogy, ostensibly about the Lehman Brothers global financial services firm but mostly about the family dynamics of the previous generations, you learn zero about what this company did in the modern age. You learn tons, tons about the three founding brothers and their marriages and their interactions with their kids (fictionalized of course) and how the kids acted in school and who their kids married and why…but literally nothing about why this behemoth financial company failed in the 2008 market crash. And so this shockingly well-received play feels like an early draft that needs work. If you wanted to write a family drama, why frame it as being about the Lehman Brothers? Why not just write a family drama instead of suggesting it’ll have to do with the financial world at all? They could have easily swapped this family for any other family’s story and had the same effect.
Perhaps that was the goal of Italian writer Stefano Massini: to show the inner workings of the Lehman family’s personal lives and struggles instead of sharing any substance about their infamous company. But then I ask with even more urgency, why?! What do we care why billionaires had to divorce their wives, or why one billionaire spent a lot of time betting on horses? Were we supposed to relate to their troubles, because I don’t. Why choose the Lehmans if not to talk about the last incarnation of the company and its 2008 collapse? The huge financial crash we all lived through felt like the elephant in the room for Acts II and III, like ‘um, guys, why aren’t we talking about that, or seeing what’s going to cause it?’ It’s such a strange choice, to focus the play on what the various Lehman generations were personally like yet to skip over everything relevant to our lives.
I discuss play length frequently, because it’s so interesting to see what different people can do with different amounts of time. Despite what you’d assume from the writing on this site, in my regular life I cherish efficiency. With more than 3 hours, you assume a play can make its point, yet here it was so much wasted time. We had endless jokes about the youngest brother being a potato; we had too much time wasted on one of the descendant’s annoying wife; we had a long, slow list of names of bankers (unrelated to the characters) who committed suicide; we had literally 10 minutes of Adam Godley doing the twist through the 20th century, instead of telling us what the company was doing to bring about its downfall. This play feels like the second draft, a work in progress that needs a dramaturge to help find its purpose.
Clearly the play wanted to be about the family, especially the three founding brothers – and the part that was about them, the first act, was the most compelling part. In the beginning, they managed to successfully portray the brothers’ dynamics while also showing what the actual company was like at the start, what kinds of financial decisions they made and why. So it can be done. (And as we’ve seen in superior plays like Enron, you can have interesting characters (who actually interact and don’t just narrate to the audience, a wearying trend) while simultaneously teaching about the financial industry, the company’s role in it, and how it all went to shit. Enron even had dinosaurs help us learn.)
But then the following two acts feel like a battle between the playwright’s objective – wanting to stick with the family biography – and everyone else’s expectation that the action was ‘supposed to’ get to the later incarnations of the company as a financial giant and, of course, the 2008 crash. I kept thinking ‘surely now they will get to the relevant part? Surely…now?’ By the time it did, it was too late to do anything worthwhile, and so they simply didn’t. They didn’t really mention what the work was even like in modern times. In fact, the last 5 minutes of the show felt like a mad dash of the entire creative team to the finish line, like everyone was shouting “OH SHIT WE ONLY HAVE A FEW MINUTES LEFT AND WE’RE IN 1980 QUICK LET’S SAY DECADES ARE PASSING AND THEN OH NO IT’S 2008 WE CRASH THE END.” I’m pretty sure that’s the ending verbatim. It felt that sudden, that unplanned. The surprise of a dozen otherwise unused actors standing in a boardroom sadly at the end felt equally misguided.
I have to believe that other critics are raving about this play entirely because of the acting. With the stellar trio of Simon Russell Beale, Ben Miles, and Adam Godley, the acting is absolutely top-notch. Sam Mendes inventively directs them not just as the three founding Lehmans, but as their wives, their kids, their grandkids, as they seemingly effortlessly weave in and out of various personas with the bat of an eye, a slight change in voice. Their acting skills were as impressive as it gets, but they deserve a play that delivers too.
INFORMATION
The Lehman Trilogy runs just under 3 hours and 20 minutes, with two 20-minute intervals (which is the best way to do long shows). As is the despicable trend among London theatres these days, they held the curtain for latecomers to arrive. MY DUDES. Stop holding the g-d curtain for latecomers. If they’re late, let them wait till the late seating time. If there is no late seating, then actually respect your own policy and don’t forking let the latecomers dictate the schedule for everyone else. It’s so rampant now, this issue, that we all may as well take our sweet ass time getting to the theatre 5-10 minutes late because it doesn’t matter anymore, there are no rules, they will hold it for you. APPARENTLY. SMDH.
It was also one of the smokiest rooms I’ve ever been in, and I was seated in the stalls. This is because the main lobby’s entrance doors were open and there’s a bar next door and no staff gives a good g-d that people were smoking literally in the doorways, to such an extent that the smoke traveled through all the stairs and hallways and into the stalls at full strength. That is inexcusable. Aren’t there RULES?!
“Unbreakable Kimmy Schmidt” Season 2: Episodes 5-9
Happy Pride Yall!
Oh herro! It’s been a while but guess what, I still haven’t finished season 2 of UKS! I spent a few weeks playing with my babiss (Helena voice) instead and ain’t nobody got time for television when you’re playing with the cutest puppy and cutest human in the whole world yes you are! And then we moved! And then people in the UK decided they hated the world and themselves and voted to destroy everything! Burn it all down! So there’s been a lot going on!
Before I was recapping just 2 episodes at a time, but ugh that would literallyyyy take foreverrrr? (Dong’s Kardashian voice!) and you all finished watching anywayyyyy so here’s like 5 and I just wanna share my favorite parts. So really this is a listicle, Buzzfeed a-hat style, of fun things instead because I just want to get this done with already Kimbecile! So really, think of this instead as is my imitation of a Buzzfeed piece! Enjoy!
Before I was recapping just 2 episodes at a time, but ugh that would literallyyyy take foreverrrr? (Dong’s Kardashian voice!) and you all finished watching anywayyyyy so here’s like 5 and I just wanna share my favorite parts. So really this is a listicle, Buzzfeed a-hat style, of fun things instead because I just want to get this done with already Kimbecile! So really, think of this instead as is my imitation of a Buzzfeed piece! Enjoy!
Episode 5: Kimmy Gives Up!
My prize for absolute winner of episode goes to Kimmy’s cold-open interaction with the staff member at the school she takes her GED class:
Kimmy: “That’s Dong Wen! We were basically the Roz & Frasier of our class. But not sexy like that, just, ya know, cool.”
Woman: “Yeah I get it. I kinda have a Kyle & Maxine thing with my boss. Oh you don’t know ‘Living Single’? But I’m supposed to know everything about ‘Frasier’?”
I was crying.
Jane’s (can I just call her Jane, Jacqueline takes too long to type; I’ll probably alternate) fake moving box labels were amazing: Silver, Crystal, Grand Piano. In this episode, Jacqueline was lent a gown for a benefit by Karl Lagerfeld, from that asshat’s designer line called ‘Crottes des Nez’. That might seem like a whatever line, unless you know French, like I do. No I used google because I knew it had to be something good. Guess what, it means boogers! Tee hee! Karl Lagerfeld is a booger maker! And a big booger himself! (He’s on my list.)
Buckley’s school was cancelled for Rupert Murdoch’s birthday, and Jacqueline of course can’t afford help (and Kimmy turned out to be just another one of Buckley’s drawings on the wall), so Jacqueline has to watch her own son for an entire day. Perish the thought! She thinks she is up to the challenge but very quickly learns she isn’t. His doctor gives her Dyziplen, the coolest new trend in rich people drugging their kids so they don’t have to parent. Buckley and all the other kids on the playground turn into quiet, sullen robots, to Jacqueline’s delight…at least at first.
Doctor: Your son’s in good physical health…But in terms of behavioral development Buckley could benefit from a little discipline.
Jane: Ohh…
Doctor: Don’t worry, I’m not talking about actual parenting. I know how busy we all are. I’m talking about medication.
This was all worth it for when Jacqueline started Dyziplen-ing out at the fitting, seeing all the Booger clothes as boring gray stuff. “What’s happening…my brain…it’s Talbotsing!”
Dong was around, I don’t remember really why, but I remember this burn on white travelers: “I don’t want to go back to Vietnam, Kimmy. It’s full of baby-boomer tourists trying to feel something!”
Kimmy’s best line was of course her list of favorite jams: “Giving up is not my jam. My jams are grape, jock, and space!” Even Questlove tweeted this one out! Instant classic!
But the episode fully belonged to Titus (I mean as usual). It started with his perfectly deadpan response to Kimmy’s nonsense:
Kimmy: “Without blue, my entire scrunchie rotation is off. I mean, I can’t wear a green scrunchie on Thursday! Everyone will think I’m horny!”
Titus: “That’s true. I will.”
From there he only got better and better, as the show combined its two best aspects into the most enjoyable combination: Titus being nuts, and the ridiculously crazy original songs. Titus was so happy that he sang songs from failed (really failed) musicals. When Lillian called him out on it, he responded in true Titus form that I have been singing for weeks now:
I’m just an ordinary gay! Cry face emoji!
And here’s his rendition of the hysterically awful song from “Feels like Love”.
You might not have noticed but the voice of Daddy in the recording played in a different scene was Jefferson Mays! “You’re My baby Now” was the creepiest song ever made while retaining a feel-good vibe and jolly rhythm!
Last but not least, this season’s most improved character Lillian had my favorite passage: “I know you haven’t been studying because I found your GED books coated with a day’s worth of asbestos. What are you doing? Also try not to breathe in here too much from now on and before.”
Last but not least, this season’s most improved character Lillian had my favorite passage: “I know you haven’t been studying because I found your GED books coated with a day’s worth of asbestos. What are you doing? Also try not to breathe in here too much from now on and before.”
Episode 6: Kimmy Drives a Car!
Oh man this episode was JOY, except ughhh Fred Armisen is back. Stop putting him in all my shows for no good reason! Titus and Lillian decide to put the apartment on AirBnB – “so it’s like a sleepover but with strangers?…AND THEY PAY YOU??” Their first guests are Shosh (Zosia Mamet) and her boyfriend, hipsters to end all hipsters who, to Lillian’s horror, would contribute to the gentrification of their hood. But oh that horror leads to comic gold. She asks boyfriend some questions, like what he does for work (which is a word they don’t believe in, but they design artisan sneakers), and when he decided to grow his super hipster mustache, to which he responded, “I saw Michael Cera had one and I was like, I’m in.” Lillian’s response was to scream the following, which is my favorite thing poss ever:
The best!! Lillian had her best episode ever, with all of her lines being quotable, which is what I’m gonna do.
“You think I’m crazy just because they named that disorder after me. But this time I’m right.”
Lillian: “We already have a way to get sneakers around here – we wait till they fall off the telephone wire.”
Titus: “And they want to open Sole Food in an old soul food restaurant? Like how the first Hooters was opened in an old mammagram center?”
Lillian: “It’s not gross to me. And it wasn’t gross to my late husband, Roland.”
Titus: “Well until recently I couldn’t even have a dead husband so hashtag, respect my journey.”
Kenan Thompson as Lillian’s husband Roland was the best casting! I want more Roland and Lillian flashbacks. Especially if it’s to the exclusion of Armisen. One SNL alum at a time.
The dynamic duo outsmarted the hipster duo into leaving their neighborhood by out hipstering them, making them think the neighborhood had already become too hip and that they were too late. Titus as the hipster was genius! He is so wise. His get-up as the bouncer to the secret club was too much!
“You think I’m crazy just because they named that disorder after me. But this time I’m right.”
Lillian: “We already have a way to get sneakers around here – we wait till they fall off the telephone wire.”
Titus: “And they want to open Sole Food in an old soul food restaurant? Like how the first Hooters was opened in an old mammagram center?”
Lillian: “It’s not gross to me. And it wasn’t gross to my late husband, Roland.”
Titus: “Well until recently I couldn’t even have a dead husband so hashtag, respect my journey.”
Kenan Thompson as Lillian’s husband Roland was the best casting! I want more Roland and Lillian flashbacks. Especially if it’s to the exclusion of Armisen. One SNL alum at a time.
The dynamic duo outsmarted the hipster duo into leaving their neighborhood by out hipstering them, making them think the neighborhood had already become too hip and that they were too late. Titus as the hipster was genius! He is so wise. His get-up as the bouncer to the secret club was too much!
Other great lines:
Kimmy: “If I find a job in the classifieds, am I allowed to tell anyone?” Amazing! Why is it called that! Seriously!
Titus: “Things change! I don’t look anything like I did when I was a baby!…Ok, bad example.” Get it because he looks like a baby.
Titus: “What’s scary about leatherbound books? Just a bunch of cows and trees that won’t rest until we pay for what we’ve done to them!!!”
Jacqueline: “And now I’m standing on a street named after a…rapper, I guess.”
Camera cuts to Malcolm X Blvd.
Kimmy: “For your information, Malcolm the 10th was a black pope.”
Kimmy recommending a dentist to Jane: “He does walk-ins and his bus ads make it very clear that he does not snitch.”
Jane: “I get making people wait for a kidney, but this is something people can see! The mouth is the eyes of the lower face!”
Jane’s whole dental debacle was pretty wonderful, for jokes and for character growth. Her temporary fix of a Mento stuck to her tooth paid off in spades when it fell into the receptionist’s Coke and the whole thing erupted like the biggest volcano in the world all over the dentist’s office. And I loved that they ended the episode with a Mentos commercial where they couldn’t actually say the word Mentos. A+ episode, with the second plus that I gave it subtracted because Armisen. (Every time I say his name I shake my fist in the air so picture that.)
Episode 7: Kimmy Walks Into a Bar!
Mimi Kanassis is back!! And making jokes about the British! Hoorah! Jane and Mimi were planning Jane’s big comeback benefit gala, with Mimi in charge of invitations – “I spelled honour with a ‘u’ like they do in England!” My UK iPhone does that. It is annoying because it keeps autocorrecting my more efficient spelling and I hate it. It changes my z’s to s’s too AND, because it was programmed by Borat, adds ‘not’ to the ends of lots of sentences. That one I don’t even get I think I’m being punked.
Anyway, this one focused a lot on Jacqueline, Mimi, and our favorite socialite since Celerie Kemble (I used to read the Vogue society section), Deirdre Robespierre, as they embarked upon gala season.
Deirdre: “And I know it just started, but I am already so exhausted by gala season!”
Jacqueline: “Tell me about it! Did you know that poor people don’t even have to do gala season?”
Deirdre: “What?! They just skip it?! Then why do they look so tired all the time?”
Besides Deirdre, the best was that Mimi f-ed up the invitations by trying to do the date the British way – day then month then year, so instead of today being 6.26.16 it would be 26.6.26 IT’S THE WORST and I’m really glad Kimmy Schmidt brought attention to how disastrous this English trickery can be. ENGLISH TRICKERY ABOUNDS. Unfortunately, the actual gala date wasn’t as obvious as today’s date is (because there is no 26th month in our calendar do you get it), and their 10.11 instead of 11.10 was easily confused. Damn the English and their stupid stupid decisions.
Mimi did make one incredible decision though – taking care of the musical guest, Sia, herself.
Anyway, this one focused a lot on Jacqueline, Mimi, and our favorite socialite since Celerie Kemble (I used to read the Vogue society section), Deirdre Robespierre, as they embarked upon gala season.
Deirdre: “And I know it just started, but I am already so exhausted by gala season!”
Jacqueline: “Tell me about it! Did you know that poor people don’t even have to do gala season?”
Deirdre: “What?! They just skip it?! Then why do they look so tired all the time?”
Besides Deirdre, the best was that Mimi f-ed up the invitations by trying to do the date the British way – day then month then year, so instead of today being 6.26.16 it would be 26.6.26 IT’S THE WORST and I’m really glad Kimmy Schmidt brought attention to how disastrous this English trickery can be. ENGLISH TRICKERY ABOUNDS. Unfortunately, the actual gala date wasn’t as obvious as today’s date is (because there is no 26th month in our calendar do you get it), and their 10.11 instead of 11.10 was easily confused. Damn the English and their stupid stupid decisions.
Mimi did make one incredible decision though – taking care of the musical guest, Sia, herself.
It was sad that their last-minute gala failed because the guests were all awful white 1%ers who don’t care about anyone else. The episode ended on a really sad note! But I love that Deirdre is just dark knighting Jacqueline this whole time and is indeed as insane as the joker, needing an equal worthy of the fight to be a lasting archrival. Genius. I need Jane to be back at her former level too. It’s weird feeling sorry for her ever. She is slowly getting back there though.
Jane: “And as soon as I stopped making those jokes, he did leave her! Men find funny women disgusting.”
In other stories, Titus and Mikey are freaking adorable and I hope they stay happy. I loved when they were trying to act bro-ish with the guys from the construction site and they all go “Sup…sup” and Titus goes “soup”. And nothing beats when Titus said to Mikey, “I saw how you were with the other contraption workers.” !!
Titus and Kimmy’s best interaction:
Titus: “Kimbecile what do I always say?”
Kimmy: “Don’t touch my dolls, they’re strictly look-upons?”
Titus: “Not that.”
The best thing by far though was the quick shot showing Pizza Rat Boulevard! He deserves it.
Episode 8: Kimmy Goes to a Hotel
We open where the season started – at Kimmy’s Christmas party! The one that asked us so many questions and then never returned to answer them, until now. Mimi Kanassis is there for some reason, Sonia barges in through the window to accuse Kimmy of stealing her husband, and Jacqueline is upset because the painting she spent all her money on needs to be returned to the descendants of the Jewish family the Nazis stole it from. Two of these lead to storylines. As far as I can remember, Mimi just slept on the couch the whole time. Mimi is wise.
First of all, the not so fun one. So Jacqueline’s $11.5 million painting, in addition to being the one thing shoring up Jacqueline’s claim to social status, is the subject of a legal battle. “The Jews are stealing my painting!” is Jacqueline’s take on it, but really it’s the kind of reparations we’ve heard about in real life. Kind of an odd choice for this show to include such a serious, awkward topic just to provide Jacqueline with the opportunity for some small growth.
Then Kimmy & Dong went to an abandoned hotel and had a fun time, but really it made me feel awkward. It was all awkward. I know we’re supposed to root for them but it was just too weird, this whole thing and really the whole episode. The only things that stuck with me were amazing Mikey & Titus interactions and obviously a reference to Hams.
First of all, the not so fun one. So Jacqueline’s $11.5 million painting, in addition to being the one thing shoring up Jacqueline’s claim to social status, is the subject of a legal battle. “The Jews are stealing my painting!” is Jacqueline’s take on it, but really it’s the kind of reparations we’ve heard about in real life. Kind of an odd choice for this show to include such a serious, awkward topic just to provide Jacqueline with the opportunity for some small growth.
Then Kimmy & Dong went to an abandoned hotel and had a fun time, but really it made me feel awkward. It was all awkward. I know we’re supposed to root for them but it was just too weird, this whole thing and really the whole episode. The only things that stuck with me were amazing Mikey & Titus interactions and obviously a reference to Hams.
Bests
Mikey as Santa: “I can’t kiss you! I’m married, and Mrs. Claus is a beautiful and very sexual woman.”
Titus: “Where was all this acting commitment when I asked you to say it was my birthday at Baskin Robbins?!”
THAT IS ME I always want to say it’s my bday for free stuff!!
Titus: “You’re the worst actor since Cate Blanchett.”
Mikey: “What? She’s great!”
Titus: “IS she? Or is she just tall.”
OMG YESSSS! This is so ridiculous that it makes it seem true! I love how Titus doesn’t even ask, he states that last part because he knows it’s so true. I mean it’s not true, but it really makes you think about it.
Loved the part about the callback for Hamilton!
If I can rap and walk quickly in a circle, can I be in “Hamilton”?
Joshua Jackson in the convenience store and Kimmy yelling condoms suuuper awkwardly were hilarious bits! That’s the part that redeemed their whole storyline, sort of. But nothing upon nothing beats the crew singing Christmas carols and including this gem: “Come on let’s order pizza, come on let’s order pizza” is a much better lyric than ‘oh come let us adore him’. Oh my god when writing this I just sang it out loud and husband thought I sang “Come on let’s murder people” and is freaking out and I had no idea why because I’m just sitting here singing about pizza.
Episode 9: Kimmy Meets a Drunk Lady
Well, Titus has quit his job at the Jekyll & Hyde place, and his unemployment has led a bit of cabin fever that includes lots and lots of doll hair-styling. In this listless state of his, he complains to Kimmy, “SO FAR NO ONE’S OFFERED ME ANY AMAZING JOBS IN THIS APARTMENT.” Perfection.
So the drunk lady in the title is Tina Fey in a role A BAJILLION TIMES BETTER than the lawyer of the first season. It’s not even right to make a comparison. It’s like apples and hepatitis. Tina plays a therapist who gets super drizzunk at night to the point where she is sort of a whole different person, and her day and night selves hate each other. Kimmy picks up Drunk Night Tina in her job as an Uber driver, which is a brilliant development and way for someone to use Jacqueline’s stolen cop car (painted black). Kimmy complains to her a little about her roommate trouble and gets some good advice from Tina about how to handle it.
Tina: “You need to go home and tells him, what’s his name? Titties? You say, Titties, I value my needs and I needs to take a shower.”
Tina’s line when Kimmy drops her off made me pause and cackle. It’s the best line in years and I have used it about 97 times since hearing it, including in parking lots and in my She LOVES ME review.
So the drunk lady in the title is Tina Fey in a role A BAJILLION TIMES BETTER than the lawyer of the first season. It’s not even right to make a comparison. It’s like apples and hepatitis. Tina plays a therapist who gets super drizzunk at night to the point where she is sort of a whole different person, and her day and night selves hate each other. Kimmy picks up Drunk Night Tina in her job as an Uber driver, which is a brilliant development and way for someone to use Jacqueline’s stolen cop car (painted black). Kimmy complains to her a little about her roommate trouble and gets some good advice from Tina about how to handle it.
Tina: “You need to go home and tells him, what’s his name? Titties? You say, Titties, I value my needs and I needs to take a shower.”
Tina’s line when Kimmy drops her off made me pause and cackle. It’s the best line in years and I have used it about 97 times since hearing it, including in parking lots and in my She LOVES ME review.
The storyline got really annoying when they broke into a stranger’s house to steal a dog. Tina writes herself into shit and then gets stuck in it too often on this show and it’s so annoying! But overall her role is a great move. I’m excited to see what happens in their therapy sessions.
One quick thing in this episode that I found absolutely brilliant was Titus taking off his earrings and putting his hair up (no earrings and no hair), prepping to fight.
One quick thing in this episode that I found absolutely brilliant was Titus taking off his earrings and putting his hair up (no earrings and no hair), prepping to fight.
But nothing beats the Billy on the Street cameo, repeating the question about whether Cate Blanchett is good or just tall! THE BEST. I love Billy!
Kimmy’s best line: “I can help get that vodka monkey off your back…and into a tuxedo, the way monkeys look best!”
THE END FOR NOW. Did you think you were reading Buzzfeed?! I bet. Except there were words in addition to pictures.
Kimmy’s best line: “I can help get that vodka monkey off your back…and into a tuxedo, the way monkeys look best!”
THE END FOR NOW. Did you think you were reading Buzzfeed?! I bet. Except there were words in addition to pictures.
