"No," she lies, she is not smiling, and the proof is that she woke up, realized she was acting insane, and hopped on a plane, came home, apologized to Lily, and called Cyrus, in that order. "You're like... You're a wife," he says, amazed, and she tries to blow it off, but then realizes she can't just give that away: "No, I'm not. Maybe I am." Why the change? Listen: "Are you ... jealous?" Oh, high school. Dan spits out some ludicrous thing about how they dated for a year and didn't even get to junior prom, whereas she married this guy after a few weeks. So he's sort of insulted, which makes a certain amount of sense as far as the fact that they are rapidly becoming adults and somehow missed each other anyway. He takes off, and she asks if in fact he's serving at Eleanor's Seder. He screams NO! like a little kid, then admits it.
"Yes. You're the wife of the landed gentry, and I'm a cater-waiter at a Seder." Which in addition to being a lovely rhyme calls back to the Doolittle dream: he's the flower-seller, she's the girl in the hat. Smiling down at him and telling him his dreams will never come true, because he still doesn't know what they are. And because in order to find out, he's going to have to come up with money, the one thing she'll never have to worry about. Once Gabriel enters the picture, the triplet will be complete, and we'll see what happens.
Because if the logic works out, and I have no idea if it does, but if it does, the drama between the three of them at the Seder should provide us with a clue as to how Blair -- who's nowhere near this house right now -- can solve her own crisis. I won't hazard a guess, because I have no idea what Gabriel's game is, which is the main part of this we still won't have, but I think it'll be something further up and further in than just telling the truth, because that's always the answer but rarely the entire answer. Anyway, lovely little parallel, and the kind of thing that makes it easy to blow this show off because it's operating on such a higher level than most things that you don't even know to look out for it.
Serena tags after Dan, to start up a new scheme so they can help each other out, and a Dinah Washington remix ("Is You Is Or Is You Ain't My Baby?") plays us to the wedding. I can't tell you how much I love these cues, not just because they play on the basic anachronistic time-as-a-color thing that this show is built on, and in just as sneakily and meaningful ways as the Muse song in the Yale episode, but also the fact that we're expanding our scope beyond classic drama and Brit Lit and into the New Romantic. Blair is so what would happen if Fitzgerald let his women be as strong as his antagonistic men ("Bernice Bombs Her Enemies"), and Serena is of course a pitch-perfect Daisy, but it's songs like these that so beautifully connect the van der Bilt legacy back to its history.