It's episodes like "La Amara Vita" that leave me yearning for a version of *The Morning Show* where the narrative actually unfolds well before the catastrophic collapse of TMS and the revelation of Mitch Kessler's sexual misconduct. Such a setup would have allowed us to witness more of Alex Levy and Mitch's dynamic on-air and off—a relationship far more intricate and captivating than most of what transpires on this show. The onscreen chemistry between Jennifer Aniston and Steve Carell is nothing short of electric. Who needs Bradley Jackson lurking around when we can revel in a deranged Alex Levy berating Mitch Kessler about being "associated with [his] dick?" This is certainly not the emotional aftermath the episode is intended to evoke, but truth be told, all I crave is for Aniston and Carell to headline a Nancy Meyers-esque romantic comedy, stat. And perhaps, while they're at it, they could share a slow dance or two. Alas, Alex Levy's retreat to Lake Como is neither as serene nor as uplifting as a Nancy Meyers film, but it is, without a doubt, *Complicated*. As Alex and Mitch hurl accusations at each other amidst opulently furnished interiors, one can't help but sense that *Something’s Gotta Give*—so, hey, maybe the Meyers magic is already at play.
We now know that Alex Levy, her back sore and her spirit shattered, fled Las Vegas and jetted off to Italy with a singular, all-consuming mission: to ensure that no one, now or ever, entertains the notion that she and Mitch had sex. The mere thought—a phrase so absurdly humorous I can't resist repeating it—of being "associated with [his] dick" is so repugnant to her that she has sought out Mitch in the midst of a burgeoning pandemic, determined to coerce him into penning a statement declaring their absence of any sexual relationship. She couldn't care less that it's a blatant lie. She couldn't care less that he's weary of lying. Consumed by the fear of being exposed as a fraud and suffering the same fate as Mitch, she's willing to sound utterly insane and go to any lengths to keep this secret buried. The two engage in a verbal slugfest, and after Alex hurls a particularly cutting retort—"well, how’s your life been going being associated with you?"—at Mitch, he's so stunned that Alex would view "the mere fact of having consensual sex with [him] as so vile that it will end [her] life" that he capitulates and agrees to draft the statement. Naturally, the statement he composes reads, "I did not fuck Alex Levy. Best regards, Mitch Kessler," which only serves to enrage Alex further. Nonetheless, she seizes the statement, along with his new phone number for future verification purposes, and departs.
As soon as she's out the door, it's evident that Mitch despises himself for allowing the encounter to devolve in such a manner. Paola notices it too and urges him not to let it end on such a sour note. He discovers Alex struggling to exit the gate at the end of his driveway, a scenario that immediately sparks a debate about the button in his dressing room—apparently, that was Alex's brainchild all along, intended solely to close the door, not to facilitate "getting [his] dick sucked in private," she asserts. After they regain their composure, he attempts to elucidate his motivations, but there's no satisfactory explanation to be had. Mitch seems to grasp this and all he yearns for now is not forgiveness, but for Alex to understand that his actions weren't borne out of malice; he doesn't want her to think he's "evil." This conversation spirals into yet another argument, and Alex vanishes just as swiftly as she appeared.
Of course, Alex finds herself in Italy, just as the pandemic surges and a lockdown is enforced. Securing a flight becomes nearly impossible, and the situation grows even more dire when Alex, drained from the chaos of her life, is so exhausted she must pull over to rest. The next morning, she is awakened by a police officer who insists she cannot drive to the airport without confirmed flight arrangements, demanding to know her exact destination—the only local contact she has is Mitch. So, back to the Mansion of Tension she returns. But this time, Mitch refuses to speak with her. Instead, he leaves her notes instructing her to come inside, to sit and eat the breakfast he’s prepared, but he makes it clear he won’t be joining her. It’s too painful for him. He’s left her the official written statement she requested.
Alex sobs, then smashes a glass and sobs again. It doesn’t take long for Mitch to emerge. “I’m trapped in Italy, and I don’t know who I am or what I’m supposed to be doing. I just miss you,” she confesses, embracing him. So yes, Alex flew all the way to Italy to get that No Humping Mitch Kessler document signed and dated, but she also came because she’s unraveling and needs her friend. As Nancy Meyers and I said before: IT’S COMPLICATED.
This moment eases the tension slightly. Mitch arranges a flight for Alex the next morning. They sip wine, play Trivial Pursuit, Mitch makes some odd remarks about the Chipmunks, and they dance. Mitch fires up the record player, and it feels like old times. But Mitch reiterates his plea: All he wants is for Alex not to hate him. Naturally, they talk. They discuss cancel culture—Alex is utterly obsessed with it—and Mitch notes that the silver lining is he’s discovered who in his life is genuine and who believes in redemption. For him, that person is Paola, who just left due to the tension stirred by Mitch asking her to delete his interview and Alex making her feel like scum. He apologizes to Alex for what he’s done to her. “At our core, you and I know how close we are,” she tells him. She confesses that after they slept together in Chile, she thought she might be pregnant and secretly, desperately, wanted that baby because she loved him so deeply as a partner. They talk about how, no matter where they worked, they’d always be a successful team. They discuss how Mitch has descended into some “pretty dark places” because he’s “lost everything that gave his life meaning.” And they sleep, curled up together on the floor. It almost seems like this is the closure they’ve both been seeking.
But then Mitch flips on the TV, and the news about the Vanity Fair excerpt detailing how Mitch targeted Black women breaks, shattering everything else. Alex remembers that being associated with Mitch would destroy her, and Mitch remembers that everyone despises him no matter how much he pleads that he didn’t mean to do any of it, that he doesn’t understand, and that he just wants to be a better person. But Alex can’t help him, and she certainly can’t be seen with him. She needs to escape—fast. Mitch knows this means she won’t defend him or remind people of who he truly is anytime soon. Even with all the terrible things Mitch has done, it’s a brutally cold way to part. Alex knows this too—we see her in the car, racing to the airport, whispering to herself that she’s a good person because she desperately needs to believe it.
Mitch heads over to see the one person still in his corner: Paola. I don’t know how to tell you this, but, um, she slaps him and says, “show me your big fucking balls.” I’ve said it before, and I’ll say it again (countless times, really): what in the actual fuck is this show? Anyway, they have sex. She admits she didn’t actually delete the interview because she thought she might never see him again and would miss him (though, honey, we know that interview is getting out). Then, she asks Mitch to run out and get her cigarettes. He’s driving, and for a moment, he almost looks at peace—until those “dark places” he mentioned earlier start creeping in. He hears Alex yelling at him; he hears Hannah pleading with him. He swerves to avoid a car coming around the bend, but when he sees he’s headed straight for a cliff, he doesn’t turn or hit the brakes; he lets go of the wheel. His final thought is of him and Alex dancing together.
This version amplifies the emotional intensity and vividness of the original while preserving its meaning.
