 |
| Photo: FX |
Where the series been less successful is figuring out exactly where Elektra fits into the show's more overtly politicized world. Elektra's never been a go with the flow kind of gal. However, the first two episodes saw her leaning into her worst self, ruining all her relationships and eschewing Pray Tell's calls for community and action in the name of "fuck ya'll, I got mine." Let's be honest: part of Elektra's appeal is her narcissism, delivered with style and panache by Dominique Jackson. But what was once one part of a complex personality is in danger of becoming her sole character trait.
An emotionally disjointed episode, "Butterfly/Cocoon," takes a step in the right direction of correcting this problem courtesy of a shocking twist. Paul, the john we met last week in "Worth It," brings along a new device that will get him sky high on poppers. Elektra breaks her own rules and allows him to take the drugs, letting him hang (literally) for 20 minutes so they can fully kick in. But when she comes back, Paul is dead, choking on his own vomit.
In a panic, she rushes to Blanca's and spills everything. Blanca tells her to call the police. Less than convinced that will turn out well, Elektra heads straight to the strip club to get Candy's advice. But sis has nothing but shade and truth bombs. She points out the sad truth that police aren't likely to take the word of three transsexuals in the death of a rich white yuppie. Candy takes them to her friend Euphoria, who recalls the time a john beat her up and got her arrested for robbery; in jail she was pimped out by a guard.
"For girls like us. The system is never on our side," Euphoria says. Candy's got a connect-- Ms. Orlando, the woman who injected her and Angel with her "ghetto silicone" last season--who can get rid of the body, while Blanca still thinks they should call the police. Now Blanca's optimism is something to admire. It's commendable. Shit it's inspirational at times. But...sis that ain't the move. Elektra knows as much, and pulls Blanca to side for a private chat.
"You're my daughter. And not responsible for my sins," Elektra explains, sending her to her room so she won't be complicit in what happens next, and displaying some genuine maternal love for the first time in a long time. Even when she, Candy and Ms. Orlando start the process of "cocooning" Paul, she pushes for them to say a prayer beforehand. So much for the woman who said she didn't care what happened to any man. Paul wasn't a good man-- Candy reveals he was kicked out of the strip club for beating up on the girls--but recognizing he deserves better than ending up in a trunk in her closet says there is good in Elektra. These touches of empathy and vulnerability are a welcome change of pace. However, it'd be better if didn't take a dead body for us to see this side of her.
Later, Elektra confesses she's had nightmares about Paul, that she moves things in her closet around out of fear the others can smell him. "He's mine now," she tells Blanca. "He'll be with me for the rest of my life." Blanca reassures her she did what she had to do for survival, and the two appear to come to a truce. It's a grim story to take on, but the writers and cast handle it with aplomb, approaching the situation with empathy and hard-edged pragmatism.
Set against this, Angel's story line--clearly the "butterfly" part of "Butterfly/Cocoon"--provides some welcome relief, even if the shift from watching lye being poured on a body to Angel pouring herself into slinky dinner dress can be jarring.
Angel has made it to the top 5 for 'The Fresh Face of 1990.' Angel bears a bit of her soul during the final interview, saying she grew up hearing she would never amount to anything, and wants to prove people wrong. Unfortunately she doesn't win, and lashes out at Blanca, snapping at her to focus on herself.
"I was gonna snatch that title. Be a real Ford Model. My face was gonna be everywhere," she tells Papi, who responds with more encouraging words before the two kiss.Rather than get a room, Papi asks to take her out on a real date.
Later, Angel gets a callback from Ford modeling agency to be the face of Wet N' Wild makeup's Spring Color Collection. The photoshoot is the fabulous experience her first one should've been. But when the shoot runs late, she chooses to stay, leaving Papi waiting outside of Barbetta. To his credit, Papi sees the bigger picture, telling her not to apologize for doing what she had to do. But he also reminds her that, like her burgeoning model career, he's a prize too. You betta know your self worth Papi!
Given the track record of Evangelista romances, who knows how this will end. But for the moment they're booed up and blissful. The episode ends on a happy note, with Angel, Blanca, Damon and Papi rushing to the drug store to see Angel's debut as the face of Wet N' Wild.
Hooray for Angel.
Other Thoughts/The Shade of It All
- The episode ends with a quote from Dorian Corey, who coincidentally had a dead body in her own apartment, one that was discovered after her death in 1993. The man, identified as Robert Worley, is thought have been either an abusive ex-boyfriend or a robber she shot in self defense.
- Although Elektra's arc was treated seriously, the show couldn't resist a little black humor by setting Paul's cocooning to Evelyn Champagne King's "Shame."
- I liked the montage of Elektra reading, filing her nails and brewing tea. You know, doing the mundane things anyone would do while they're at work trying to pass the time; because gags and whips aside, she is at work.
- Damon is Team Papi--who now has a job and a GED thank you very much-- but basically tells Angel she can and should aim higher.
- Can we talk about the other music choices? "Black Cat," "Buffalo Stance," "Nasty Girl" and "My Prerogative" to name a few. One classic after another.
- "Do it look like I wanna spend the rest of my life in prison? Orange ain't my color."
- "Bougie bitch come on!"
- "You hoes kill me. Comin to me like I'm Dear fuckin' Abby."
- "Business is slow. Damn Bush economy."
- "He white? Oh bitch you fucked."
Comments