Girls S05 E10: I Love You Baby
“I’m Hannah, forever”
Disclaimer: It has taken me two weeks to review the last episode of Girls – I know! Forgive me for eking out the finale; I dumped my judgemental dickish boyfriend...no, that’s not right. I’ve been sleeping with my best friend’s ex...Divorcing my bandmate... Okay, let’s just say real life got in my way and it’s nowhere near as entertaining as this season of Girls has been. I must face the final curtain (a tad overdramatic but let’s run with it).
The finale is here. Well, it has been and gone, and we’re all feeling rather bereft. I Love You Baby opens to the strains of Bonnie McKee’s Bombastic as a lyrca-clad Hannah runs towards the camera – she stops every five/six steps and stretches, exhaling deeply but hey, at least she’s trying. Loreen and Tad are sitting on the stoop of her apartment block and upon seeing them; a sweaty Banana picks up speed and runs right by them. She has been avoiding them and their incessant phone calls and voicemails, however, agrees that they can stay; she will stop judging them if “you get better haircuts”.
She is preparing for an open mic night at The Moth, she’s not writing again per se but she has something to say. It’s Hannah, doesn’t she always? Loreen takes her shopping and, while trying on outfits which are fit to wear on a date with Mark Ruffalo, empathises with her only daughter. Reminiscing about Dale, the captain of the debate team and the “math major bitch” Cadence who waited until Loreen was at a funeral before seducing Dale. It didn’t end well for number-cruncher Cadence who stepped out in front of the car and died. “And then Dale wanted you again?” Hannah asks hopefully. Oh, she’s wants Adam back. Or does she?
Marnie and Ray wake up together and it isn’t long before Marn is telling Ray he has to support her artistically. While she pees, she asks him to go on tour with her. I’m unsure why. Does she actually want his company or is she getting back at The Drip and his guru, Tandace. Oh no, I was way off base, she wants him around to get her coconut water and remind her to take her vitamins, Jesus...
Elijah arrives home after a bender which is an obvious attempt to get over Dill and finds an unlikely bosom to confide in. He opens up to Tad and confesses he hasn’t slept in four days and feels like giving up, as happiness evades him. We will see the affect this tête-à-tête has on Mr. Horvath later. Shosh is finally content making a success of Ray’s Coffee. Across the city, in Ray’s apartment, Adam hands off baby Sample to her father who may or may not be using again. Jessa uses the time to talk about Hannah much to her beau’s chagrin:
“Hannah is my dearest friend, she will always come first. We may not be talking right now and I hope to God that changes. You know people hate me, I don’t know why. I’m a hateable kind of person. Maybe it’s because I have a big arse and good hair” *Don’t we all* “But I’ve never been the one to sleep with other people’s boyfriends. I will never forgive you for that.”
So begins utter and absolute destruction of the living space as the couple throw, lob and fling items at each other. Oh boy is this love? I suppose on some level, we were expecting it, the pair are so self-destructive it was bound to kick off eventually. There’s even a nod to The Shining as Adam punches through the bathroom door. He refuses to let Hannah break them apart – “[she’s a] lazy, entitled, manipulative, myopic, narcissist who knows a fuck lot less than she thinks she does [...] Hannah’s a bitch and a c*nt.” OUCH – why is he being such a bloody bastard? It wasn’t so long ago he was standing in front of his new baby niece asking for another chance. Pfft, men, and their feckin' strops; even the ones who can’t spell and smell of ham. Sociopaths unite!
Hannah is chosen to speak at the open mic night, jealously is the topic. She looks fabulous and even colour co-ordinated (Jessa’s impromptu wedding the last time, I believe). No surprises, she chooses to talk about Adam and Jessa, the woman who looks like the offspring of “Brigitte Bardot and a mermaid”. It’s the first time she has truly opened up about it, we caught a glimpse in episode nine. It’s a beautifully honest and funny piece and produces mixed emotions; she admits a lot of things we have known all along or a few we haven’t. This is Hannah now and grown and when she finished (Chris Farley masturbatory fantasy aside) I felt oddly proud of her – also she likens herself to Viggo Mortensen (he’s a big deal in my world).
I have shared her life for five years, and yes I am well aware she’s fictional but if you don’t care about the characters you’re watching week-in week-out, why bother at all? Even if they do sometimes make you want to scream or walk into a wall. That’s the beauty of Girls. Hannah and her friends are finding their place in the world and making it stick which is easier said than done, and I say this as somebody done with their twenties.
Overall season five has been mother-effing marvellous, and this was after initial doubt that the boys were getting all the good stuff. The standout episodes, for me, were Panic in Central Park and Hello Kitty, the direction and premise of both episodes elevated the series and displayed a real maturation. It also shows supreme confidence to debut two directors for the last two episodes (Alex 'Old Man Ray' Karpovsky and contributing writer, Jenni Konner) – Dunham has achieved brilliance. She’s fearless and subverts in ways that Sex and the City failed time and again. While she hasn’t directed all or even written every episode, all ten episodes have been outstanding. The music too, that has fully fledged just like our Banana; everybody has a Girls playlist, right and if you don't, you really should. Season six is in pre-production as I type, how about a few more awards now please, Hollywood bigwigs.
Roll on next year. Good luck, ladies – sincerely and in perpetuity.
Bombastic by Bonnie McKee ℗2015 Bonnie McKee Music
I Want That by Good Graeff ℗2015 Good Graeff LLC
Open Your Eyes by School of Seven Bells ℗2016 Full Time Hobby
Can't Take My Eyes Off You by Frankie Valli ℗1967 Rhino
Black Hole by She & Him ℗2008 Double Six Records