Back at Midge's, Don tears off the Polaroid of Midge and Roy and regards it appraisingly, and tells the two of them that he realizes they're in love. Midge offhandedly denies that, but Don presses the idea, and despite Roy's assertion that love is "bourgeois," Don's point seems to be taken. Fez boringly blathers on about Don's career in a derisive manner, and Don responds, "My God. Stop talking." See what I mean about his command of making a point tersely? Don tells Fez to make something of himself, which gets Roy's back up; he reiterates the point he made two episodes ago that Don traffics in lies, but Don tells him that there is no big lie, because the universe is indifferent. Way to be a buzzkill, Don, and that word is far more literal than usual in this case. Don commands Midge to come with him to Paris, but she regretfully says she can't, and this is a fascinating scene, because for as liberated as Midge seems, this is demonstrating that she's actually the one who's unable to let go of her attachments. As if to prove that point, Don hands over his bonus check and tells Midge to buy herself a car, and she looks chagrined to realize that she's the one in the relationship who's tied down. She tries to get him not to leave, and Roy backs her up by pointing out the presence of the cops, saying Don can't go out there. Don: "You can't." He swaggers out, and I don't know for sure is this is the last we'll see of Midge, but if it is, that is one sweet breakup performance by Don. Outside, the wife-beater (wearing a wifebeater; nice touch) is led away as Don blithely greets one of the officers.
Episode Report CardCouch Baron: A | 1993 USERS: B
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