Last week’s episode of HBO’s “Girls” left a lot to be desired. It wasn’t terrible, but it definitely felt forced and tired at times. In a complete reversal, this week’s episode, “The Panic in Central Park,” exceeded all expectations.
This episode was an interesting change of pace for the series, shifting from a format which incorporates several of the women’s storylines to one solely focused on Marnie (Allison Williams). In doing so, the episode became more like a stand-alone short film than just another installment in a series. The individualized focus allowed for more of Marnie’s character development in one episode than she’s undergone all season.
“The Panic in Central Park,” which writer Lena Dunham said was inspired by the Al Pacino film “The Panic in Needle Park,” follows Marnie as she considers her current relationship in light of her reconnection with her ex-boyfriend Charlie (Chris Abbott). Her fantasy takes a turn for the worse when she and Charlie are mugged and when she subsequently discovers his drug problem. This is a formative experience for Marnie.
Charlie’s return coincides with the return of the relatable Marnie from the first season. She has been well-known throughout recent seasons for her egomania and need for control, but this episode breaks her down and gives her a heart again.
For the first time this season, Marnie takes a definitive step forward in her personal growth, leaving her husband Desi (Ebon Moss-Bachrach) in order to find herself. She transforms into something of a role model over the course of the half-hour episode, a notable change given the season’s tendency to highlight so many characters’ regressions.
The more technical and stylistic elements of the episode contributed beautifully to crafting the overall tone. A fairly consistent wash of cool tones, apart from Marnie’s bright dress, and the often unstable camera movements gave a somber sense of tragedy. One of the most interesting and effective shots was a close up on Marnie’s wide-eyed expression as she realizes the toxic environment her life has entered. The contrast between suspense and hope reflected through both thematic and stylistic choices gives this episode a nuance that makes it perhaps one of the series’ best episodes.
In the episode’s final scene, Marnie crawls into bed next to Hannah (Lena Dunham) in a moment of contentment and normalcy reminiscent of the series’ earliest episodes. Marnie’s turn to Hannah, her oldest friend, for comfort in the wake of her separation suggests a revival of their friendship. Returning to the women’s friendship seems like the proper direction for the series to take as it navigates its penultimate season.
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