Tina moves back in with Bette but stays in the guest room.
Highlight below for a spoiler:
Dana and Alice have sex (finally).
Los Angeles, California -- Present Day: A security guard, Gomey, watches in a security monitor as a couple is having sex in a stairwell. He then calls his friend.
The Connection: His friend is Mark, who is not impressed by the video because he is starting a new project at the house.
Highlight below for a spoiler:
Bette finds out that Tina is pregnant.
Bette: What is going on here, what are you doing?
Helena: I'm here to publicize our grant announcements. The Foundation wants to send a message about our new agenda.
Bette: That's not what I meant. What. Are you doing. With my girlfriend.
Helena: It's really none of my business, but... Tina doesn't seem to think she really is your girlfriend any longer.
Bette: Well that would be right. It really is none of your business.
Carmen: (about Jenny) Well maybe she's one of those people that's, you know, just constantly in her head.
Shane: Carmen, she's a writer. She's supposed to be like that.
(Dana holds the two lollipops up to Alice; one's a penis, one's a breast.)
Dana: Which one would you rather put in your mouth, Al?
Tina: I can't live in a stranger's guest house or some motel and I'm not going back to Alice's couch. I don't think it's fair that I'm being punished for something that I didn't do. So I'm going to stay in the guest room until I find a place of my own.
Bette: (smiling) Welcome home.
Tina: I'm not home.
Bette: (toasting to Dana and Tonya) I lift my glass to caring, and kindness and trust, and longevity and respect. To all the things that you'll need to keep your love alive. I wish you... happiness. And I hope that you forever spare each other pain. (pause) And if you find that is impossible? Then I wish you forgiveness.
Alice: So what were you saying about me?
Dana: I thought you had great tits.
Alice: You noticed my tits?
Dana: Right away!
Dana: Oh, come on! They were like... (flaps with her hands) "Hello, there."
Alice: They were talking to you? I mean, that's creepy!
Dana: Whole conversation!
Shane: You just got cruised.
Jenny: Do you think she was looking at me?
Shane: Oh, yeah. In broad daylight, too.
Jenny: I love my haircut.
Original International Air Dates:
Czech Republic: December 9, 2011 on Prima LOVE
Charles S. Dutton (Benjamin Bradshaw) is credited as a special guest star.
Music Featured in This Episode:
- Do You Take It...? by The Wet Spots
- All My People by Kia Kadiri
- I Want You by Coco Love Alcorn
- Finally by Ce Ce Peniston
- Vamos jogar by Sueca
- Fever by Coco Love Alcorn
- Get On by The Dirtmitts
- Quiza, quiza, quiza by Mariachi Los Camperos de Nati Cano
- Deceptive by Nine
- Don't Go to Strangers by Etta Jones
- Moody by Tricky
Veronica: (about the movie) I am thinking... Angelina Jolie. Maybe Julia Roberts. Maggie Gyllenhaal if we wanna do something really quirky.
Aaron (Veronica Bloom's assistant): (to Priscilla) You are making the biggest mistake of your life if you sign with the Bruckheimers.
A reference to movie and TV producer Jerry Bruckheimer and his (now ex-)wife Bonnie Bruckheimer, also a producer.
Alice: (about Kit) She's in the back with some hunka hunka burning love.
A reference to the 1972 song Burning Love, written by Dennis Linde but performed by Elvis Presley.
Jenny: (about Mark's documentary project) Or is this gonna be like... you know - or the Maysles Brothers?
Mark: ... meets D.A. Pennebaker, with a little bit of Nick Broomfield thrown in there.
The Maysles Brothers, David and Albert, were documentary film makers, best know for their documentary Grey Gardens (1975) about the cousin and aunt of Jacqueline Kennedy Onassis, both named Edith Bouvier Beale, who lived in almost total isolation from the rest of the civilization.
D.A. Pennebaker is another well-known documentary director whose distinctive style features a hand-held camera (what Mark is also doing) and the avoidance of voice-over narration and direct interviews (in which Mark does not follow the Pennebaker style).
Nick Broomfield, a British documentary filmmaker who uses only a minimalist crew, is known for his reflexive style of making documentaries so that the end results tell about the making of the film as much as about the subject itself (which again mimics Mark's style).