After last week’s lascivious blow-up between Hannah and Adam, things are still a bit rocky in the relationship. They’re seen copulating in the opening scene – sans role play or skimpy outfits – and all seems back to normal. However, Adam needs space and the dichotomy of their relationship begins to shift in this episode.
Adam’s new theater job requires a lot of rehearsal time, so he temporarily moves in with Ray – much to Hannah’s obstreperous protests – to regain the peace and quiet time he needs. However, that doesn’t seem to placate the growing tension between them, as seen when their arguments are exported to Ray’s. “I feel like you’re leaving me” and “We cannot spend the night separately,” are some of the things Hannah whiningly and stubbornly tells her beau. This once again reinforces the sad, stereotypical nature of the girls on Girls and how they enforce patriarchal archetypes. At the beginning of the season, when Hannah got her ad-itorial job at GQ, she would come home late to a tired but understanding Adam who supported her career and her late-night arrival’s home. In this episode, it seems Hannah cannot reciprocate and appears jealous when Adam’s career is taking off, while she has to come to terms that her writing job is product-related and not to the standards she holds herself so high to.
Things get worse between them when Hannah is kicked out of the theater during Adam’s rehearsal. She feels forlorn, embarrassed and, for the first time, that her job is subordinate to Adam’s. She finds refuge in Patti Lapone (the singer she did a piece on a few episodes ago) when she’s invited to stay for dinner. She meets Mr. Lapone and finds uncomfortable parallels between them and her own relationship. Patti’s husband, a professor and writer, reveals he’s had to put his career on the backburner to support his performer-spouse. Hannah feels the trepidations that await a life with Adam, which she begins to see after sticking up for him to her mom who advised her to keep her options open, and wonders if she could ever do the same for Adam, when it was her own life and career she saw taking off.
Plagued with this new realization and not having Adam around to vent to, Hannah takes it out at work on her colleagues, by spewing honest but hurtful rebukes, so consequently, and apparently intentionally, gets fired from her new job…again.
Meanwhile, Marnie takes a job working as an old friend’s assistant in an art gallery. There she meets B.D., an artist she studied in school, and when things begin looking good for her, career-wise, Jenna comes and surreptitiously steals what could have been Marnie’s more ideal job as B.D.’s archivist.
Realizing she’s not the art connoisseur she thought she was, Marnie focuses on her singing again. She puts on a show at a local club with Dezzy, who she’s been spending a lot of time with rehearsing. She makes her feelings for him apparent, but he reassures her that he has a girlfriend. They put on a mediocre performance in front of friends, which include Hannah, Elijah and Shoshanna, who blatantly asks Hannah if she’s okay with Adam and Marnie’s careers as performers taking off, while she’s just in advertising, to which Hannah, in characteristic fashion, comically replies: “I’m not in advertising anymore, because I quit.”
Marnie meets Dezzy’s infamously amazing girlfriend, who is, in fact, amazing. She’s exotically beautiful, sweet, and complimentary of Marnie’s performance, which makes her all the harder to hate. After turning down an invitation for drinks and realizing she never had a chance with Dezzy, Marnie heads over to Ray’s for rebound sex.
Meanwhile, Adam and Hannah join the rest of the gang, where she announces she intentionally got fired to collect unemployment. After Adam brings Hannah home back to Ray’s, where he is still currently staying, the sounds of Marnie exploiting Ray’s there-ness are overheard and their little rendezvous is finally exposed.
What will happen between Marnie and Ray might be resolved in next week’s season three finale.