They must have done it pretty early in the morning, because there's no fade to white/overnight transition. Instead, we cut right to the Fisher/Chenowith breakfast table, where family bonding time consists of Nate reading a newspaper, Brenda reading a book, and Maya doing some kind of chair dance. Nate suggests they invite Maggie over for dinner some time, and Brenda asks why. So Nate can hit on her in the bedroom while Brenda's busy in the kitchen? Actually, Nate's stated reason is that Maggie is new in town, she doesn't know many people, and Brenda would like her. But it's really so he can hit on her in the bedroom while Brenda's busy in the kitchen. "Okay," Brenda says agreeably. I guess they resolved their fight since last week. Maya announces that she has to go potty, and Nate says that since he's running late, "Mommy'll take you, okay?" It's rude enough that he doesn't even bother to show any signs of being in a hurry, but the fact that he just assumes without asking that Brenda will step in is worse. So it's not entirely unprovoked when Brenda leans forward and asks, "Maya, do you remember your other mommy?" It's shitty, yes, but not entirely unprovoked. "What are you doing?" Nate snaps. Brenda yammers smugly about "honesty" and the importance of Maya growing up with "a coherent narrative; that she knows where she came from and how [Brenda] came into the picture." Nate says he's all for that, but they have to pick the right time. And here's where I first notice a recurring motif in this episode: the gratuitous extreme close-up. It's like the director's trying to make everything more intense by jamming the camera right up into everyone's face from a low angle. Or maybe he was trying to justify the nose-hair-trimming line item on the budget. I didn't notice it during the Corpse of the Week scene, because it's not unusual there, but the overuse of it throughout the episode gets a little surreal. Since it's used variously to convey tension, pensiveness, humor, doubt, hunger, and nausea, it's inevitable that it's going to suffer in at least one of those functions. "I need to go potty!" Maya repeats impatiently. "What better time than the present?" Brenda says, scooping up her stepdaughter. Nate: "How about after she makes potty, for starters?" Brenda sighs her agreement and takes Maya to make potty. Nate picks up the book Brenda's been reading -- a tome called The Coherent Parent -- and examines the dust jacket. Yeah, Nate. Women and books, man. No good can come of that shit. But here's a tip, my hirsute friend: it gets really dangerous when they actually open the cover.
David and Keith are getting ready to go, and Keith asks if they should call Mary, their surrogate mother. David says they don't want to pressure her. "Pressure her?" says Keith. "We just inseminated her." "You inseminated her," David points out. "Well, not me personally," Keith clarifies. Yes, we understand that Keith didn't actually have sex with Mary. I hope that anybody old enough to watch this show is clear on the procedure. Anyway, the real reason Keith is stressing about Mary is because he wants an excuse not to go to the adoption agency picnic they're getting dressed for as we speak. David points out that they're kind of obligated, since Mrs. Pasqueasel did them the favor of getting them access in the first place. Wise move there, appealing to Keith's sense of workplace politics. Keith's still reticent, comparing the event to "going to look at puppies." David says they don't know if Mary is pregnant, or if she's going to get that way. And he reminds us all about their agreement to "keep moving on both prongs of the two-pronged approach until one of the prongs pays off." They stand up and examine their reflections in the full-length mirror. "You know what we look like?" Keith says. A couple of prongs? "Homos," is David's answer. They both laugh. I like mine better.