HBO’s “Girls” closed out its fifth season Sunday with a special two-episode finale: “Love Stories” and “I Love You Baby.” Though the girls — and guys — have had their fair share of ups and downs this season, this satisfying conclusion sets them on the path to becoming self-actualized adults and gives them wide open storylines for the final season.
In “Love Stories,” Hannah (Lena Dunham) gets a much-needed dose of reality, as well as inspiration, from published writer and former college frenemy Tally (Jenny Slate). Their drug-fueled dance scene closely resembles Hannah and Marnie’s (Allison Williams) iconic dance scene from season one, simultaneously highlighting the fragmentation of Hannah’s original circle of friends and opening up possibilities for her social connections outside of the group.
For many other characters, life is just as sweet. Shoshanna (Zosia Mamet) is the picture of determination in this episode. Back to her old self, she is able to get Ray’s (Alex Karpovsky) coffee shop on its feet again and finally finds her place in New York. As for Ray, he not only gets his business back but also gets his happy ending too when Marnie admits her love for him.
Things don’t work out so well for everyone, though. Elijah’s (Andrew Rannells) whirlwind romance with Dill (Corey Stoll) comes to an end — simultaneously one of the episode’s most empowering, yet sad moments.
The follow-up episode, “I Love You Baby,” is perhaps one of the series’ most satisfying conclusions to date. It leaves aside cliffhangers and crucial decisions to instead explore the more emotional conclusions to which each character comes.
The implosion that is Jessa (Jemima Kirke) and Adam’s (Adam Driver) screaming match is beautifully and tragically depicted. The visceral and terrifying sequence illuminates just how compatible Jessa and Adam truly are — both have short tempers, repressed pain and a violent streak. It’s unclear whether this is an end for the couple or just their dysfunctional way of working through their pasts.
Hannah, on the other hand, takes up writing again and makes an appearance at The Moth, which is a wonderful reminder of her penchant for storytelling. Hannah is despicable at her worst, but at her best, like she is in this moment, she’s vulnerable, thoughtful and witty. The entire sequence is largely redemptive for her character as a whole.
Perhaps Hannah has never been more mature than when she leaves the fruit basket at Adam’s door, wishing the volatile couple inside the best of luck. In spite of these improvements, the two episodes in conjunction make it clear that Hannah will never be exemplary in her behavior. Though she is Hannah “in perpetuity,” the final freeze frame shot, though cliché, makes it clear that Hannah is starting next season with a — mostly — clean slate.
The final sequence, appropriately set to Frankie Valli’s “Can’t Take My Eyes Off of You,” sees everyone at perhaps the most adult they’ve ever been, brilliantly wrapping up a strong season. The wonderful balance between the ridiculous and the real, the incorporation of more interesting camera techniques and the wonderful explorations of each character made this season one to remember.
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