Where Every Bunny Knows Your Name
Our series opens in the typical Chicago-show style, accompanied by Hugh Hefner's reading voice: "The scheming, corrupt, crime-filled Windy City may have been all of those things... but I built a place in the toddling town where everything was perfect. Where the rules were broken and fantasies because realities for everyone who walked through the door. It wasn't the '50s anymore. Yes, it was a place where anything could happen to anybody... or any bunny." Right off the bat, we can see the Mad Men bootlegging, as well as why we will luckily never hear Hefner's voice again after this episode.
Nick Dalton, a regular at the club and a vague Don Draper lookalike enters the room. A lovely, mature (compared to the rest of the girls, at least) bunny is singing the Frank Sinatra cover we've been listening to while a gorgeous young bunny looks on in awe. She's got a name (Maureen) and a job (not standing around and just looking pretty, if you can believe it), two facts told to us by her co-bunny Alice. Maureen is mesmerized by her and her special on-stage privileges, which she, Carol-Lynne, only has because she's been around for so damn long: she was the first bunny ever, you see.
"...And she wouldn't want you on stage," says Brenda (or as we know her Toni Charles! Couldn't they have kept the same name if they were going to jack her from Mad Men?). She is unarguably cool and adorable and perceptive, and wow, Maureen is not very good at waitressing. Good thing she's "selling something people want," because she would so not fly at a Dairy Queen.
Maureen gets a proposition to dance and accepts. I can't tell if this is against policy or not, but I'd imagine that if it was, you would not be allowed to refuse the butt-touching of a keyholder. Carlo-Lynne gives her the ol' death stare and Nick gives her an entirely different look altogether. He's then joined by Billy, the club owner, who immediately makes a mark about Nick being a good Goy lawyer, because David Krumholtz clearly has a stipulation in his contract that all of his characters identify themselves as Jews within four seconds of being on-screen. Maureen is new and definitely in trouble, but Billy isn't too hard on her tail. She gets back to work in the form of getting more Marlboro Reds in the back for Nick, while Carol-Lynne exits the stage and gives him a smooch. There's definitely some kind of history between them, but it's hard to read Carol-Lynne's sarcastic exterior.