Well. I didn’t see that hiatus coming, although we’ll presumably now get a clear run to the finish line, and to Rebecca choosing one of her suitors. I suspect it’ll be a great big Empowering Finale in which she chooses herself, but we’ll get there soon enough. Meantime, as Rebecca prepares to take part in a musical revue devoted to the songs of a legendary songwriter, all three of the men in her life are doing what they can to get close to her: Josh takes a backstage job with the revue; Nathaniel ends up with a role in it; and “Greg” reopens his father’s restaurant in order to stay in West Covina rather than return to college.
It’s amiable enough, and there are a couple of other storylines floating around as well: Paula, who graduated top of her class at law school, is being courted by other law firms. This storyline showcases Darryl at his most needy, which isn’t my favourite Darryl. And Valencia wants her girlfriend Beth to propose to her, without ever quite clarifying why she can’t propose to Beth.
But the episode really takes off when the action switches to the revue itself. Rebecca identifies that the lyrics of her song, ‘Etta Mae’s Lament’, are, uh, “retro”. Indeed they are. One might even go so far as to say they’re #problematic (“Get me offa my back and standing up straight/So I can be the kinda lady you’re not ashamed to date”). And Valencia’s song, ‘I’m The Bride Of The Pirate King‘, is, if anything, worse (“He hits me but he don’t mean any harm/His slaps are part of his pirate-king charm”). Both are appalled, but when Rebecca rewrites her song to make it a little more woke the revue’s producer makes it clear that she has to sing the song as originally written. Mind you, it gives Nathaniel a Moment, in which he perhaps edges ahead of the other boys in the race for Rebecca’s hand.