I remember back in my college film class how we all giggled upon hearing the final line of the 1953 Alan Ladd film Shane. There was innuendo in that shout across the wilderness.

Forget the innuendo in "Look Out, Here They Come," this week’s episode of The L Word.

(Spoiler alert; look away if you haven’t yet seen it.)

As I sat watching this week’s episode where Shane gets a last-minute gig styling hair at a wedding, I thought maybe Shane must be wearing a scent we’re not able to experience as viewers. Maybe there is just something so musky and alluring that she not only gets to have her way with two of the bride’s sisters, she tempts the bride herself. Then, in a final Mrs. Robinson kind of way, the bride’s mother wants Shane and throws herself into her arms.

You know, when the producers promised lots of sex, this wasn’t quite what I imagined. With Shane, you know she has a sex addiction. Thus, it’s about as enjoyable to watch Shane doing it with three different women in one episode as it is to sit there and watch her shoot heroin three times. Enough already, we get it: Shane is irrestible to every lesbian and straight woman in Los Angeles and just cannot control herself. (Maybe that will change next week if the promos are right.)

Away from the wedding, Shane’s sexual antics and Jenny (who I might start referring to as crazy Jenny soon), we discover Tasha’s real reason for not shipping out to Iraq: she’s being investigated for "homosexual conduct." Here’s where I think you have to hand it to the writers/producers a bit because I can’t think of another show that would bring this topic to the forefront right now.  "Don’t Ask, Don’t Tell" isn’t getting much press these days, but it’s still very much a part of the military, even with our continuing presence in Iraq.

The reaction Tasha received from her on-base attorney friend was classic. First, he is happy to see her and teasing her like a friend would do. Within two minutes time, after bringing forth her concerns, he’s quick to judge and turns cold. She didn’t come out to him, she only mentioned her situation. It was enough for him to shut down.

It was interesting to see Joyce and Phyllis drop into the scene when Alice and Tasha walked away from dinner with Jodi and Bette. (Tasha didn’t need or want their help; Phyllis literally shouts for it.)  I don’t know what to make of Joyce and Phyllis just yet. Maybe another episode will spin that one out a little better.

However, I LOVED the scene when Kit gets escorted into the prison to see Helena. If that isn’t a nod to Pam Grier’s 1971 women-in-prison film, The Big Doll House, I don’t know what is. Sure, get Kit in there to help Helena with prison lingo, she knows what it’s like in the big house.

Then, when you do get the lingo down, the first thing you have to do is kiss your cellmate when she tries to choke you as she awakens from a bad dream. Then, instead of finding out whether she might be infected with some STD as you become passionate for the first time, just find out if she’s imprisoned because of murder. When you find it’s just tax fraud, surrender yourself completely.

However, I don’t quite get the Dorothy Dandridge reference in the conversation between Helena and Dusty.  Any clues?

I have to admit, I can’t wait until next week. (It has to be less predictable than this week. Right?)

Posted by:Christine Badowski