Rizzoli & Isles

Rizzoli & Isles Subtexty Recap 2.06 “Rebel Without A Pause”

On their way back to the station, Maura receives alarming news: Her mom’s a day early! She then goes into full-blown panic mode.

Korsak takes Starsky to Angela, because Angela doesn’t have enough to worry about. She’s got to keep a job, babysit a parakeet and now she’s gotta cook a three course meal—

Maura: Eleven.

What the what? Maura’s all, “Hors d’oeuvres, potage, poisson, entrée…” And I’m sure Jane has no idea what she’s saying. I can’t imagine making an 11-course meal for four people, two of which have no idea what they’re even eating. “…relevé, rôti, legumes…”

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I’m pretty sure the Rizzoli & Isles writers Maura just Googled classical French menu and found something like this:

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Back at work, the press released some info about the shooting and the police opened up their hotlines. Jane’s all, “Crap! I’m supposed to be at Maura’s.” Meeting her mother-in law and all. So Frankie agrees to cover the phone for her because he gets that dinner at Maura’s is a big deal.

Back at home, Maura is stressing about every last detail of the meal, while Angela tries to make her feel better.

Angela: Stop worrying! You’re the perfect daughter.

Jane comes bearing gifts in the form of cannolis. Angela’s all, “But these aren’t sophisticated!” And Jane’s all, “Neither are we. I got them for you.” Aww, Jane.

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Angela: You’re the perfect daughter.

Now where have I heard that before? Seems familiar. Can’t place it.

Ding Dong. The mother’s here.

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Jane: You look beautiful.

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Maura’s mom is everything we imagined her to be: Beautiful, poised and snobby. Also dismissive and cold. You can tell all that just from that screen cap, I think.

Who’s hungry, though? You better be. There’s a lot of food.

What ever will these ladies talk about? Let’s see…

Constance: Next month I’m going to be lecturing in Stockholm, Sweden on the objectification of the female form in post-war modernism.

What a fascinating topic. Angela agrees.

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Jane: What do you know about post-war modernism?

Angela: I know a lot about the objectification of the (forming a female shape with her hands) female form.

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Did Angela just come out? Or does one just learn a lot about the objectification of women from living with two lady-loving ladies?

I don’t know but this is Jane’s response to that:

Jane: Good point.

I’ve decided that heterosexuality has now become the real subtext of this show because you have to dig really deep to find it. Not that I’m looking for it.