"Or Niecy Nash-Betts orgasming during a massage on a private flight to Fashion Week? No, the moment I realized this show finally knew itself was the gratuitous scene of Carrington Lane and her gay baby daddy reciting Shirley MacLaine and Meryl Streep's dialogue as they watched Postcards from the Edge. Hearing Sarah Paulson as Carrington screech, "I did not lift my skirt, it TWIRLED UP," isn't just representation, it's perfect television."
"Sebastian asks her about her dating life and tells her he pictures her with a Hugh Grant or Hugh Laurie type. "People named Hugh are, 90 percent of the time, swishy queens," she says, a line of dialogue that I think we should all sit with. Instead, she says, her most recent person of interest is Chase Munroe, whom she says reminds her of her first crush: Jesus Christ. "I used to rub one out to Jesus," she says. "Sunday school was my steam room.""
Season one's two-episode finale fully embraces camp and soap-opera excess, aligning outrageous humor with melodramatic plotting. Carrington Lane emerges as the central protagonist, with the episode centering on her dating life and career maneuvering. The finale deploys provocative, explicit beats — from graphic references and a character orgasming mid-massage to cinematic parody moments — that balance satire and affectionate pastiche. Dialogue mixes celebrity references, blunt sexual confessions, and comic absurdity to sharpen Carrington's voice and to make the series feel self-aware and confidently performative while intensifying character-driven stakes.
Read at Vulture
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