"Sometimes in an effort to spread the most outrageous rumors we look over the very thing that's even more scandalous: the truth."
Asher apologizes to the boy, holding his hand as he pulls it away, leaning close, making promises. Asher tugs softly on the boy's St. Jude's school tie, in the age-old manner. (We've all done that, every one of us, because it works on everybody: adjust the tie, adjust the collar. It's subservient at the same time it's controlling; it's intimate but out of their line of sight. Their eyes can't see what your hands are doing, which is touching them, and reminding them that you can see them. How many times in a day does somebody touch your throat? If wolves had neckties, they would do that shit to each other constantly.) The boy stands, smaller, on the other side of him, but you can see rigidity in his pose. You can see him not giving in. And when Asher looks around, furtively, afraid, in love, and surveys the street, and kisses him, you can see the boy give in again. Just like he knew he would. Asher steps away, and heads back toward Unity, and Dan hides until he's gone, but when he ducks back out, the other boy is gone.
"And the only thing more shocking than the truth... Are the lies people tell to cover it up."
The Kills would seem to agree: as Lily comes out of the Palace wearing cute glasses, talking to her wedding planner Claudette (who's played by this great character actress whose name I cannot seem to find or place), "Cheap & Cheerful" starts to play: "I'm tired of being cheap and cheerful / I want expensive sadness / You're stupid, baby, when you're sane / You're boring, baby, when you're straight." That could be the Rufus and Lily theme song (or a karaoke song by G, come to think of it). She awesomely tells Claudette to keep Mr. Spitzer as far away from Serena's table as possible, at the reception, and goes back to her list: "Ugh, what's not on the schedule today?"
Or any day: "I don't think I am..." She does this awesome physical move where she shoves the schedule out toward him, between them like a shield, like her marriage, and he takes it: "Maybe you could fit me in between Preston Bailey and Sylvia Weinstock?" After a sec, she gets it together. "Well, good luck fitting anything between those two. What... What are you doing here?" She takes off her glasses and looks at him. "Believe it or not, I'm here to see you." She brushes him off and heads for the car, citing a laundry list of duties today, and he stops her in her tracks: "-- It's about Jenny. Alison's away on an artists' retreat, and I could really use a mother's advice. I think I might be in over my head." She offers to talk about it on the way, and he follows her into the towncar, taking care to thank the driver.