Victory is standing in her home/studio, flanked by dress forms wearing the very designs Ricardo Bragini stole. (I assume she had these dresses already? Or did she buy the Bragini ones just so that she could inspect them?) She fumes visibly as she punches the buttons on her cell phone, sending out a bat signal to the other girls. Seriously: there's a hilarious split-screen showing Wendy and Nico walking down different streets on their way to work. Each checks her phone, sees that Victory needs help, and dashes out of the frame -- and it's especially weird because they both turn toward the center and it looks like they're running into each other. That's Lipstick for you! Pushing the envelope!
Once the Superfriends have assembled at Victory's, she tells them the whole tale of how Ricardo Bragini stole her designs. She is rigid with fury. Bragini is a full-on brand, she explains, so she can't do anything to retaliate. She can't find her original sketches, so she has no proof that Bragini stole the designs, and she doesn't have any legal recourse, because don't get her started on how copyright protection doesn't extend to fashion. The girls try to say helpful things, but Victory doesn't want to hear it, so she dismisses them, saying that she can handle it on her own. They get up to leave, and she barks, "Where are you going?!" It's all very "comical." I'm totally "laughing."
The gals are finally released, and we join them on the street as they cluck their tongues over Victory's many setbacks. The conversation turns to Shane and his immense musical talent. Wendy tells Nico that she's planning to pass along Shane's demo to David Hernandez (hee), the director of a film that needs a composer. She thinks Shane would be perfect for the gig. Hmm, is it a remake of Arthur? Or perhaps a light-hearted comedy, set in 1985 Manhattan, about a plucky young Michael J. Fox type working his way up from the mailroom to a major position in an advertising agency, with some hilarious setbacks along the way? Because Shane's sound is a little bit, how shall I say, "dated." (Also "shitty.") Wendy hasn't told Shane about her plans, because she knows he wouldn't like the idea. And she says that she'll make the submission under a different name so that Shane's connection to her won't influence the director's decision. Nico still isn't convinced that this is a good move: "What if the director doesn't think he's as talented as we do?" She doesn't seem to know how these plotlines work. If you say the person is a great artist, they are a great artist. It is established as fact, even if the audience sees no evidence of said greatness. Get with the program, Nico! Wendy says that Shane will never find out if he gets rejected, but Nico observes that Wendy will know. True, but someone has to tell her, right?
Victory is tearing through boxes of still-unpacked stuff from her studio, looking for the missing sketches. Joe advises her to look to her former employees instead: "I am guessing that some of them are as ambitious and driven as you, and not nearly as decent." It's the most sensible thing anyone has said yet, so naturally Victory blows it off and gives Joe a snitty earful about how her staff was like family, which Joe clearly doesn't understand because he does deals with strangers whom he doesn't trust. Joe doesn't hold any of this against Victory; he just leaves and plans to return when she's less PMS-y. (He doesn't say that, but you know he's thinking it.) Victory already knows that Joe is right, though she didn't give him the satisfaction of hearing it; she now calls Reese and leaves a message asking her to call back. "It's kind of important," she sighs.