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She was kind of living in an image of herself instead of really thinking about what she wants/needs.

The scene was necessary to really let Marnie know that her previous plans aren't relevant anymore.

LD is not an existentially adrift 20-something anymore, by any means. Emma: I agree, and I think we'll see those moments as the season progresses. Emma: It was definitely a really harsh critique, though ... Lori F.: But it reminded me of what Ray said to her last season about her choice of topic. One is that some people will never think it's worthwhile to write about your own life for the sake of telling that story, and that's a type of writing that women seem to do more than men. Margaret: This scene was a portrait of Hannah's lack of self-awareness, even though she's the one writing navel-gazing essays. Margaret: I hated how she made it about Elijah and gay rights, too, like this was something larger than her not being into someone who didn't like her work. Emma: Sandy on Hannah: "I'm a white girl and I moved to New York and I have a fixed-gear bike and I'm gonna date a black guy! Lori L.: What was so sad, though, was how Hannah humiliated herself and then said, "Do you wanna have sex still? Lori F.: What did we think of Hannah's comment about how her work at Grumpy's was "clean money" versus Marnie's and how she wouldn't cash in on her sexuality?

Will it be harder for her to channel those feelings into her work? Emma: I don't think that Lena's success actually threatens the core emotional effectiveness of the show ... Margaret: It also makes me wonder at what point Dunham will let the characters start having a few wins. I think they're still setting up the character arcs at this point. The other is that I think Hannah was justified in breaking up with him if she thought someone who couldn't like her writing couldn't like her. Lori L.: Right, and when she gets home and declares to Marnie and Elijah that she broke up with Sandy because of "your rights and your rights." Margaret: So annoying.

Emma: She's not going to fundamentally change, but she is going to explore herself more. Suddenly Marnie is the character I most want to watch. BATHING THE PIG Margaret: I loved Shosh's bed head, and Marnie waltzing in pissy perfectly illustrated how little privacy you operate with in New York sometimes. "You'd be, like, really good at bathing a pig." "That's so sweet of you to say." Lori L.: That was maybe my favorite scene ever in "Girls." Margaret: Really? Lori F.: It was up there with Hannah and Elijah at the bar last season. Lori F.: The fact that it was such a weird conversation made it even sweeter. And their new-love glow was in such contrast to Marnie's disappointment. Lori F.: I love how in sync Shosh and Ray were in their advice to Marnie. Emma: I love how Marnie said, "I just don't wanna be around people who don't hate everything in their life right now." I totally get that feeling. Lori L.: It's something people feel all the time and never say. Lori F.: I like how Shosh doesn't sugarcoat even when she's trying to make someone feel better.

Margaret: They are perfect for each other, in the strangest way. Lori L.: "I so wish you went to my summer camp." Emma: Of COURSE Shosh brings up camp. Margaret: So Shosh introduces the "pretty-person job" as a way to make her life slightly less hateful. Lori L.: And the recognition that there are levels of prettiness. Margaret: I love that he and Shosh say that at the same time and also love that Shosh ends up being the source of Marnie's employment and also Shosh's phone call to her friend: "How are you? After Ray says, "I think the world has the three curators it actually needs," she chimes in, "It's not like pop stars -- we don't need like a million of them. Lori F.: It reminded me of the puppies in "Bridesmaids." Margaret: The thing about Thomas John and Jessa is, I kind of want them to work because they're so ridiculous.

THERE GOES THE GOOD GIRL Margaret: Hello, there, Lena Dunham's Mom!