The post-dormitory, pre-marraige male apartment. When they showed the cast members partying in someone's apartment on St. Charles Avenue, I briefly thought that I knew its owner. But then I realized the apartment looked familiar simply because it is belongs to every male who does not live in a dorm or with a woman: it's essentially a box with gray carpet, a hand-me-down couch with a beige slipcover, a splinter-laden wood thing doubling as a beer pong table and bar, and large sports team paraphernalia sparsely covering the white, sporadically stained walls.
Baby Kong. One of the Krewe of Bacchus' signature floats at which parade-goers throw beads. The float can be seen in one of the parade scenes at the beginning of the episode, and it got me thinking: Baby Kong is sort of symbolic of the Real World franchise, isn't it? It's this big, stupid thing covered in plastic objects that comes into our lives every year, and everyone throws stuff at it. It's pretty pointless, but we can all admit it's somewhat comforting to collectively hurl objects at something for no reason year after year.
1. Denial. Does this large, blue drink filled with several bacteria-laden fruit garnishes really cost $20? Yes, it does. You drink four of them. The combination of sugar, alcohol and food coloring causes brief euphoria.
2. Anger. Jemmye is enraged to see a blurry-faced woman approach Knight in the bar (she says "Do you remember me?" and he responds: "How could I forget a beautiful face? ... uh, what's your name?"), so she angrily dance-assaults some guy. I hear handing someone a MTV waiver functions as an effective pick-up line.
3. Bargaining. "OK, Bourbon Street shot girl: how 'bout you give me one of those Jell-O shot beakers for only $10?" "Yes — but only if you consume it via my breasts or by getting down on your knees on this filthy floor." Jemmye is sort of a beaker-shot contortionist in this scene.
4. Depression. At this point, the curb surrounded by piles of sodden plastic and puddles containing a gumbo of urine and Big Ass Beers To Go looks like an OK place to sit while you sob until a male from your group throws you over his shoulders. You may also eat a Lucky Dog at this time.
5. Acceptance. If you're Jemmye, you scream "LET'S GO TO A GAY BAR!" and later call your mother from the house phone.
-Everyone's hookin' up this episode, and not always with suitable mates, which confirms my theory that MTV pumps hormones through the house's ventilation system. Suze hooks up with Ryan. Preston hooks up with two people he met on Bourbon Street! McKenzie sleeps with a glittery doll. And, finally, Jemmye loses her White Boy Virginity to Knight. I have to say I'm a bit disappointed. I thought perhaps Knight being Jemmye's "first white boy" would be some running joke in the house, but I doubted it would actually happen. Jem's a wild one, but she's kind of cute, right? Why would she succumb to the advances of a pudgy pill addict with bad teeth, a stupid name, and even stupider one-liners (“Once you have a tip of the Knight stick, I may women fall in love”)? Is this how young people are wooed these days, with promises of perfunctory sex? (And yes, I am technically "young," as I am probably the same age as many of these cast members, but I have never been propositioned with "three pumps") The moment was a bit sad, but I enjoyed it when they did a thumbs-up for the camera from under the covers, shortly before Jemmye was like "OK, see ya later" and went back to her Mardi Gras bead bed.
-Also, did anyone feel a little weird when Knight said his conquest was for "white people everywhere"?
-In this episode's K-Ville editing moment, the camera shows Bourbon Street and a black Santa Claus carrying a crucifix, then it cuts to Republic during "Legit Night." A Christmas miracle.
-Ryan's homophobia continues to be confounding: referring to one of Preston's hook-ups, he says "I’d rather not (hook-up) than be doing it like that."
-I don't really understand Ashlee's role on the show yet, but I think she may function as a Greek Chorus of sorts. She doesn't really do anything, but she provides some insightful, prescient commentary about what's going on around her. At the end of the episode, she discusses Jemmye and Knight's relationship, saying it seems good right now but there may be some "trouble on the horizon." I think that could potentially apply to a lot of things, Ashlee.