Episode número tres of Netflix’s hit Unbreakable Kimmy Schmidt continues the trend the show started from the get go while it keeps the viewer engaged and entertained. “Kimmy Goes On A Date!” effectively employs particles of life in the bunker and the subsequent trauma, yet the installment proves that Kimmy is still unbreakable, and what’s more, she is piecing everyone else’s lives together. Sometimes by proxy.
“Kimmy Goes On A Date!” begins with Kimmy having a dream in which she had “defroged” a prince, every bit of which is deliriously funny. However, the fantasy turns into a nightmare as in the same dream she finds herself back in the bunker. Kimmy is yanked back to reality by a screaming Titus. “I’m not made that way,” he screeches in response to her demanding, “Why won’t you open?” It’s risque joke that does pay off. When the former sect follower finally opens her eyes, she is shocked to see that she is sitting on top of her roommate and about to strangle him.
In spite of Kimmy trying to play the event down, Titus strongly advises that she finds someone to talk to. Aside from her nightmares, they have discovered that the girl also suffers from an unexplained phobia to velcro. Kimmy insists that she is fine; she is so worried about concealing her identity that she is not bound to trust her secret to another soul. Trying to be resourceful, Kimmy confesses she is one of the mole women to Siri, who responds, “That’s messed up,” which, granted, it is.
The background of the sequence carries some serious emotional weight; however, its tone is kept in perfect balance at all times. It’s another win for the writers, executed not an inch far from perfection by Titus Burgess and Ellie Kemper.
The mother of the comedic releases, however, is brought by accident, by Jacqueline playing matchmaker. The woman sets the nanny/assistant up with an elderly, wealthy bachelor, which of course, Kimmy learns when the lunch date starts.
Grant Belden’s age not the one thing Kimmy discovers. She soon realizes that the man is convinced that he is still in the war, while he feeds treats to an invisible dog. Instead of heading for the hills, Kimmy sees the upside of the situation: what makes Grant a nightmare in most scenarios could come in handy to her since she can tell anything to the millionaire, and he will always be unable to pass judgement, let alone recall or rat her out. For one-and-a-half dates, the arrangement works like a charm.
The temporary make shift therapy scheme expires as Kimmy figures out that while letting things off her chest helps her, she needs someone who can actually carry a conversation with her. Simultaneously, Grant Belden accuses Kimmy of being a prostitute, then a spy; he even weaponizes a pine cone that he believes to be a grenade to attack her. Once again, Kimmy has learned something, while the writers don’t hide behind the fact that for the character to adjust to her new life away from the bunker, there will be some necessary confrontation with the past. This works as a double movement since it gives the plot a forward trajectory.
Meanwhile, in the B-plot of the episode, Titus is caught by Lillian, when he is on his way to get new head shots. The woman points out that he is wearing a suit, and she smells money on him, which she wants, since he fell asleep in her bathtub, causing a flood and damage on the wooden floors. As a result, the struggling thespian say he’s going to a funeral. The plot thickens when Lillian announces she will join him, and the duo end up crashing a stranger’s funeral, where Titus sings the anticlimactic “I’ll Make Love To You” by Boyz II Men. Though Titus’ arc does not evolve much, he is infallible at bringing laughter, not to mention that the public is, indeed, invested enough in his journey, given the heart and charisma the character exudes.
In a parallel subplot, Jacqueline’s backstory is unveiled via a series of flashbacks. As it turns out, Mrs. Voorhees is Native American. Her real name is “Jackie Lynn”; she dyed her hair blonde, got contacts, lied about her birth control, and, in a few words, paid the price of losing her family in order to follow her dreams, which, she concedes, is only possible if she is white. As outrageous as the concept is, if there is a show that can pull it off, it is Unbreakable Kimmy Schmidt, and if there is an actress who can convince the viewers of the implausible, it’s Jane Krakowski.
When Xan tries to dig up dirt on Kimmy, Jacqueline having a past works perfectly. She finally puts the teenager in her place and teaches her that Kimmy’s past is not relevant. Her strength and conviction naturally hinge on the fact that she has reinvented herself; at the same time, Jacqueline’s defensiveness does provide cover for Kimmy. That said, I do acknowledge that the choices in Jacqueline’s backstory will not be celebrated by everyone, which is understandable. There is a risk involved every time race is played out in a show.
All in all, the installment makes up for another close to perfect chapter on a journey that seems paved with infinite possibilities and laughter.
Highlights:
– Jane Krakowski shows, once again, that her acting abilities have R.A.N.G.E. This works very well not only because she is able to bring a good script to life, but especially because in a short amount of time, she can go from manic to nostalgic. Considering the twenty-something minute length of the episodes, where narrative economy is imperative, she is more than an asset.
– The gags. The show has its finger on the world’s pulse, which is why the contrast between Kimmy’s underground life and everyone else’s is achieved effortlessly. Lines such as: “This isn’t the Chinatown bus. You can’t just jump someone who’s sleeping!” do set the show apart from others. In fact, the show seems to be developing its own language, which is something I have not seen since Buffy. Side note: Kimmy does remind me of Anya.
[Photo via Netflix]
Follow Us
