In the preceding episode, we caught a fleeting glimpse into the Remens' lives, shattered by the loss of their vast fortune. Now, in "One Wedding and a Sex Pest," we delve into the exclusive social circles their wealth once opened for them. The nuptials of Georgia-Peach, a distant kinswoman of the deceased queen, to Oriel—who joyously greets his old schoolmate Felix with a kiss planted square on his lips, much like Polly did with Jess upon their initial encounter—will resonate with anyone acquainted with the works of Jane Austen.
Since the early nineteenth century, the rigid grip of English customs and etiquette that governed behavior in places like Hertfordshire, where "Pride and Prejudice" is set, has loosened somewhat. However, these traditions have clearly not vanished entirely. In fact, as Felix and Jess navigate through the wedding festivities, I am reminded of the Bingley sisters, as if the attendees were deliberately attempting to create a rift between Felix and Jess. When Felix implores Jess to adhere to "the custom of our country," if only for one night, and she retorts by asking if he's "Edith fucking Wharton incarnate," I am also reminded of Undine Spragg, so certain of her desires until the very moment she attains them.
Polly, Auggie (sporting yellow Crocs), Linnea (still irate), and another French ex-lover named Wheezy are all present at the wedding, along with seemingly every woman Felix has ever harbored romantic feelings for. As they arrive late to the ceremony, Felix is apprehensive about mingling with such an illustrious crowd. "Besides Auggie and Polly, these aren't really my people," he confides in Jess, breathing heavily. "I'm not suggesting we can't be ourselves, but it's more like... we can't be our full selves here."
This plea mirrors Jess's own request of Felix when they dined at Jonno's. Her inability to see this similarity is frustrating, but the situation is somewhat different when, strolling through Notting Hill's cobblestoned streets, Felix knew exactly what to expect. Jess is suddenly thrust into a world governed by bizarre rules and connections where casually conversing with a rapist, storing cocaine in one's wedding dress, engaging in fistfights on the dance floor, and even belting out a song titled "I'm Horny" instead of delivering a toast are all deemed normal—even welcome. While these behaviors are seemingly accepted, Jess's eccentricity—her metallic blue dress and earnest demeanor—prove to be, quite literally, too much for this circle.
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Jess, in her interpretation, sees it this way: Georgia-Peach's sister, Sylvia-Violet, tends to view Jess as "remarkably entertaining." Having moved past the turmoil of Donkeyfest, which plunged her into a volatile explosion of self-doubt, Jess finds herself once again entangled in the throes of jealousy. Matters are exacerbated by the fact that these distant aristocrats might as well be speaking an ancient tongue; she struggles to find her footing among their elite circle. For Jess, who relentlessly showcases her individuality, blending into the background and sitting quietly is a challenge too great to bear. To be a suitable companion for Felix on such an evening, to borrow Austen's terminology, would require precisely that—and she simply cannot comply.
Perhaps this stems from her unwavering sense of principles; it could be her self-centeredness. Most notably, however, it is rooted in her survival of a seven-year relationship with Zev, who derived his strength by tearing her down and insisting she conform to a persona she was not. Perhaps this is also why, throughout the wedding festivities, she cannot shake the haunting vision of Zev's presence—on the church pews, lurking in the corners of the reception, on the dance floors, or even indulging in carnal desires within the confines of a bathroom stall.
As "One Wedding and a Sex Pest" unfolds, we witness Zev himself discussing the dysfunction of his relationship with Jess in therapy. He recounts the oppressive influence of his domineering Jewish mother, Sharon—a stark contrast to Felix's mother, Aiko, whose negligence we witnessed in the previous episode. He explains how his mother's suffocating love programmed him to be drawn to women who crave a love so intense, so overwhelming, that it ultimately consumes its target.
Yet, if Jess harbors certain needs, Felix is far from blameless. His usual demeanor is evident in the sea of women scattered throughout the party, each one having been discarded by him at some point. One of them confronts him, revealing that she married the therapist she began seeing after Felix ceased returning her calls. Her sting is intensified by the fact that he was otherwise "kind, romantic, and amusing." "Good luck to whoever you arrived with," she tells him, underscoring how Nice Guy Syndrome can become deadly: sky-high expectations, followed by devastating disappointment.
Hyacinth, the daughter of Jess's particular ex-girlfriend, is, in the midst of their conversation, locking Jess inside the bathroom from the outside. In a daring escape reminiscent of a James Bond stunt, complete with an evocative musical score, Jess must navigate out through a window and shimmy down a pipe, firefighter-style, spanning multiple floors of the main building. However, her dramatic fantasy takes a humorous dive when she realizes she's merely a couple of feet above the ground. Meanwhile, little Hyacinth causes further mischief on the dancefloor, although the consequences of her antics remain unseen; our focus shifts to Polly, who lives up to her promise and gives Wheezy a thorough beating right there on the dancefloor. Such a public altercation can't help but bruise any man's ego, regardless of his sweetness.
Earlier that evening, Polly strolled around with Jess, while Felix accompanied Auggie in his mushroom hunt. Polly confided in Jess, revealing that she and Wheezy were once inseparable, akin to sisters. But their bond shattered when Polly went to Marseille for a mere month, and Wheezy "seduced Felix." Jess is taken aback by this revelation and tries to process it, but when she attempts to share her own ex-related woes, Polly abruptly walks off, citing boredom and hunger. The scene, marked by Adèle Exarchopoulos's impressive comedic timing, also underscores Felix's penchant for tumultuous relationships. For Wheezy's seduction to succeed, Felix had to be willingly seduced.
The parade of ex-girlfriends and lovers at the wedding reminds me of the scene in Jerry Maguire where, at his engagement party, a montage of Jerry's exes claims he dreads being alone. One of Felix's redeeming traits is his acute awareness of his romantic chaos, evident as he nervously downs glass after glass of champagne at the party. When Jess kisses him after her bathroom ordeal, she notices the taste of wine on his lips, to which he lies about indulging. The atmosphere turns chaotic once everyone is seated, and humorous toasts fill the air. Lena Dunham excels at penning cringe-worthy speeches, but Janicza Bravo, who portrays Kim in Too Much and is a filmmaker in her own right, directs the scene with exhilarating flair. Polly slaps Wheezy across the face, and Jess discovers that their tablemate, William, Sylvia-Violet's former beau, has been released from jail on sexual assault charges.
The stark reality that everyone acknowledges William as a rapist yet remains unperturbed by it pushes Jess to her breaking point. Matters escalate when Felix, with a casual dismissiveness, tells her she needn't "get so worked up" and could instead "address it calmly." Jess seethes, "Don't ever suggest calmness to a woman in your presence." Her indignation, though justified, is misdirected; she feels alienated in every aspect, from her demeanor to her humor, even in her simple request for a "Diet Coke" when only "Coke Light" is available, resentment simmering towards Felix's uncharacteristic behavior. He's adopted a façade of someone who can effortlessly utter phrases like "old boy" and "young chap," and he's pulling it off convincingly.
Regardless of the minor squabbles they've had before, what unfolds now is their first genuine fight. Jess accuses Felix of being inauthentic, while he counters by labeling her self-centered. "I'm just playing a game, Jess, like a normal person does to blend in," he explains, expressing his exhaustion at discussing his feelings as frequently as she desires, particularly given his background and British upbringing. Yet, Jess can't empathize with the idea of compromising one's true self for arbitrary societal norms. And she's not mistaken in her conjecture that those he seeks to please barely care about him. Additionally, he never refers to her as his girlfriend!
Felix deserts Jess, vaguely gesturing towards the bus. She spots Zev there, but his only contribution is, "Damn, you're clingy." In therapy, Zev recounts the pattern of his relationships: "I swoop in, the knight in shining armor for a fleeting moment, only for her to gradually turn against me." In that sentiment, Zev and Felix could almost switch roles. My concerns for Felix deepen. Knowing the abundance of drugs and alcohol nearby, his anger, and the fact that he's already had a few glasses of wine, leaves me dreading what's即将 to unfold.
