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As Avis makes her decision, Raymond and Dick butt heads and Ellen makes a proverbial leap of her own.
|Directed By||Michael Uppendahl|
|Written By||Ryan Murphy, Ian Brennan|
|Introduced This Episode|
This content contains pertinent spoilers.
A Time To Celebrate – Avis, Camille, Rock, Ray, Jack, Archie, Hattie, Tallulah, Jeanne, Ellen, Claire
Well, Avis breaks down and decides, screw it, give Camille the part. A decision that excites not only Camille and Ray but also Hattie McDaniel. Someone who calls Camille as soon as she can to congratulate her and offer her any time she needs to navigate what’s to come. Unfortunately, though, alongside the congratulations comes a bit of harassment. However, Avis offers a bungalow at the studio and security to fix that issue.
As for Rock? Well, while he doesn’t get the lead part, he does get to be the person who directs Meg, the new name instead of Peg, to where she decides to jump off. At least, until a rewrite, taking note of Meg’s new skin tone, has her not commit suicide. An idea of Dick’s during his workshop with Ray and Archie.
Leaving a few other things to note:
- Claire is told by Avis she is a better actress, and Claire notes she supports her mother’s progressive decision. Thus leading to Avis crying a bit since it seems conversations like this are rare between the two.
- We see Tallulah kiss Hattie, thus touching on the rumor, and long-held assumption, they had a relationship.
- Jeanne is given the role of Lee Miller for it seems Ellen and Avis want her to have the opportunity to not only be the star she should have been but earn an Oscar.
Budgets & Scandals – Henry, Jack, Avis, Dick, Ray
While Avis may have greenlit the project, the budget Ace put into place didn’t seem to change. Leaving everyone scrambling for a means to get this film done. But what doesn’t help is the script change and Ray, seeing himself as more powerful than he is, causing a $25,000 change. Which, of course, upsets Dick and leads to Ray possibly having to turn tricks to make up the money already lost.
But bad turns worse as Jack’s solicitation arrest comes up, and this leads to Henry having to swoop in. Which may make you ask, how in the world can a manager help like Henry? Much less, why? Well, the answer is, Henry has mob connections and using those mob connections, he not only handles Jack’s situations but the pictures of Avis also using the gas station.
Now, as for what this costs everyone? Oh, just a producing credit, over Dick. In return, it seems Henry will further use his mob connections to deal with the backlash the film is bound to get. Leaving you to wonder, could they help with the film’s money woes as well?
After The (Possibility) Of Love Is Gone – Dick, Ellen, Avis, Jack, Henrietta
While Avis is in a loveless marriage, she still pursues getting that special itch scratched. So, with that in mind, she naturally encourages Ellen to do more than longing look and verbosely praise Dick. However, when she tries to put moves on him, he gently rejects her while avoiding the question if he is gay. And with the question and her pursuit, so comes the fear their rhythm has been broken.
However, their relationship being broken doesn’t compare to Jack and Henrietta. She not only had an affair but outright tells Jack the babies aren’t his, and she plans to leave him for her former co-worker and move to Indiana. This news is devastating yet, considering Jack deciding against being a hoe did leave Ray and Archie hanging, now he should have less reservations.
Additional Thoughts or Information
- Taking nude pictures is going to bite them in the behind, won’t it?
- Anna is given a small role in the movie and, luckily, it isn’t cut when Dick is looking for things to make the movie more concise and possibly cheaper.
Jeanne Had Me In Tears
Sometimes it is about making the most of the little time you are given. By no means is this show about Jeanne, but you get this strong reaction from her when she talks. Each line, each interaction, it makes it so you hope a slice of this show is dedicated to her winning in the end. This is strange since you have these young people of color the show wants you to root for but, honestly, it feels like such a forced message with them sometimes that it pushes you to divest a bit.
How Devious Henry Is
Though, can we just say, in general, the older actors, the ones whose characters had to deal with the prejudices of yore, they are really blowing out their younger counterparts? Henry, for example, with revealing his mob connections, it shows a different side to him. One that, when you add him being closeted and his assistant pushing how much he takes on this paternal role in his clients’ lives, like with Jeanne, it leads to you losing investment in the young kids and wanting more of the veterans.
On The Fence
The Movie Is The Least Interesting Thing About This Show
“Peg,” “Meg,” what have you, just doesn’t come off that interesting, and the drama before the first camera starts rolling isn’t eliciting interest. Increasingly, Ray and Camille, alongside the rest, are becoming less assets and more so people you have to put up with until Ellen, Avis, Dick, Jeanne, Henry, or the others appear. For even when you take note how big a movie like “Meg” would be in the 40s, the issue remains that the younger actors aren’t able to get out of the shadow of the veterans. Leaving them often eclipsed and struggling to reclaim a show partly about them.
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