The Wife:

For Lipstick Jungle‘s Thanksgiving episode, the ladies plan a locovore Thanksgiving, which Wendy’s mom, Mary Tyler Moore, doesn’t understand and makes fun of. (I don’t understand your crazy scary arms and plastic cat face, MTM, but I keep those comments to myself. Wait . . . no I don’t. Nevermind.) Victory would rather not go to Thanksgiving, not being one for cooking, I suppose. Fortunately for her, Dahlia has been making amends and found a wedding dress client for Victory – a job which must be done over Thanksgiving in order to be ready for the Saturday wedding. Surprised that Dahlia is suddenly being nice and not wanting to go to Wendy’s, Victory takes the job. Meanwhile, Shane’s agent’s dog dies and he invites her to spend the holiday with them while Nico and Kirby get stuck babysitting Nico’s husband’s illegitimate son, Charlie.

Shane actually ends up missing most of Thanksgiving, much to Wendy’s chagrin and MTM’s disapproval, trying to help his agent cope with the dead dog situation, ultimately getting stuck watching football at her house while he tries to find a crematory open on the holiday. Unable to get someone to pick up the dog corpse (which we never see in the episode because this situation, though bizarre, is not meant to be played for laughs), Shane and his agent decide to go bury the dog in Central Park, only to get arrested and fined for their crime against public property.

Despite thinking that they’re only going to be Charlie-sitting for a few hours with Megan coming to pick up her son in time for Nico and Kirby to arrive childless at Wendy’s Thanksgiving, Megan goes MIA and the couple is forced to bring Charlie along. (Honestly, Wendy would have had no problem welcoming an extra child into her home. They shouldn’t have waited and just called Megan to tell her to pick up Charlie at Wendy’s place.) As the hours pass, Nico starts to realize that Megan isn’t coming back. A phone call from her confirms this. Nico seems to be enjoying her brief stint at motherhood, but by the end of Thanksgiving, Kirby has had enough. He’s furious that Nico didn’t tell him Megan wasn’t coming back as soon as she got the call. To which I say: really, Kirby? Because I’m pretty sure that you actually, as Nico’s boyfriend, don’t have any say in whether or not she wants to care of an abandoned child or not. You don’t share a living space. You don’t share a bank account. Ergo, that’s not a decision you get to make. The decision you get to make is whether or not you date a girl who has kids. You do not get to tell her whether or not she should adopt her husband’s illegitimate son. I love Nico and Kirby, but the minute he started trying to force himself into her decisions, I was done with him. Ultimately, Nico decides to keep little Charlie, feeling that the child is somehow hers, anyway, as it is her husband’s son.

Not-so-happy family.

Not-so-happy family.

Victory’s wedding dress client turns out to be not at all what she expected. The fiancé told Victory that the bride to be was a dancer he met in Vegas, leading Victory to think she’d be making a dress for a young trophy stripper. The bride, however, is much larger than a dancer should be, one who retired from the stage 15 years ago to be with her first husband. She’s not in the same shape she used to be. Seeing the skimpy, youthful dress Victory had made, the bride is terrified and crushed, hating herself for not looking like a chorus girl anymore. Victory saves the day, though, by reminding her client that her husband-to-be described her to Victory as vivacious, fun and gorgeous beyond reason – the very qualities that led Victory to make the original dress. She starts over again and creates something fitting for her client, saving the day and helping the bride find her own self-confidence. During the creative process, Dahlia makes amends to Victory and decides to stop being such a bitch, picking up food and making drinks for both themselves and the client. After the dress is finished, Dahlia and Victory head over to Wendy’s just in time for dessert.

When Shane returns home, he sees Nico with Charlie and asks Wendy is they could have another baby. He sees it as an opportune time, with Wendy home now. Wendy, however, sees it differently. She doesn’t like being home. She wants to keep working on her career and isn’t really interested in being a mommy again. She doesn’t want to be a stay-at-home anything.

You want a little brother, there, buddy?

You want a little brother, there, buddy?

Post-Thanksgiving, Victory, new owner of her business, wants to hook a big deal with Baron Brothers, but in order to do so, she needs Wendy’s help creating a campaign. Wendy is more than happy to help her friend with her project, as well as continue working on her passion project. She gets a visit from a rival producer, a super-douche named Stephen, who wants to buy the script from her. After much debate, Wendy and the writer, Cassidy, decide to partner with Stephen’s studio, but only if they maintain the actress they’ve picked for the lead, as well as make no changes to the script without authorial approval. Stephen’s studio really wants to cast a different lead, so he sets up Wendy’s Disney-sanctioned lead with a false arrest for shoplifting to make her appear more edgy and more like the character, believing that his studio will let them keep the actress if they see her more like the character.

Meanwhile, with Victory busy working on her Baron Brothers deal (to design hotel sheets and robes?), she hires Maddie to help out at the store. Maddie, it seems, has major self-esteem issues. She’s afraid she’s not as pretty as her mother, who is a 6-foot-tall goddess that men have drooled over since Pretty Baby and The Blue Lagoon. Okay, so that technically describes Brooke Shields, but you have to admit that even if Brooke Shields plays your mom, there’s got to be a lot of pressure there. Victory tries to help her with her self-esteem issues by making her feel confident and pretty, encouraging her to flirt with delivery boys and borrow some clothes from the store to feel pretty. This pep talk leads Maddie to become so confident that she makes out with the delivery boy in one of the dressing rooms, only to get caught by Victory and her mom. Wendy clearly gets upset with Victory for encouraging Maddie into this kind of behavior, but draws back a bit when Victory points out that Maddie’s self-esteem problems are a direct result of trying to live up to her beautiful, powerful mother. In deference to Victory’s comments and her daughter’s well-being, Wendy talks to Maddie about the situation and, for once, becomes a great mother and a great friend to her little girl, further cementing her decision that she and Shane shouldn’t have another child, lest they lose the focus they currently have on their children and their work.

Speaking of children, Nico starts speaking to lawyers and adoption agents about keeping Charlie, but all her hopes are dashed when Megan’s parents show up suddenly, saying that they’d like to take both Charlie and their daughter back to Ohio where they can be cared for. Losing Charlie is enough of a blow to Nico, but then she and Kirby attend an art installation loosely reminiscent of Frank Warren’s PostSecret in which participants are encouraged to write secrets on the wall in glow-in-the-dark ink, which will all be revealed via blacklight at a certain time. Amongst all the secrets that say “I hate your stupid dog” or “I had sex on my boss’ desk,” Nico notices “I’m not happy anymore” in Kirby’s distinctively girly handwriting. After the show, she confronts him about his secret and they mutually decide to end their relationship.

I’m glad to see Victory making it on her own as a business woman (with a little help from her friends), and Wendy learning to actually manage this whole working mom deal. She’s learning to be maternal, something we’ve never really seen of her. I will not miss you, Kirby. You were a total dick about this whole baby thing. Just like you were a dick about the whole “moving out of the city” thing. Please date someone your own age.