The L Word - Seasons 1-6

Amazon.co.uk Review Season 1: Four years after the American version of Queer as Folk made gay men the focus, it was time for a little turnabout with The L Word (bad title, great show). Centering around a tight-knit group of lesbians in Los Angeles, this drama was far removed from its working-class male counterpart in both style and content. While the men of QAF enjoyed a fabulous if melodramatic life on the middle-class streets of Pittsburgh, the women of The L Word lived it up in sunny California, with gorgeous houses, glamorous careers and sexy wardrobes. Ironically, though, The L Word adhered more to the everyday drama of ensemble shows like thirtysomething than the soap opera antics of QAF, and the results were surprisingly heartfelt and effective, appropriately stylish but never over the top. There was plenty of room for titillation, but creator Ilene Chaiken fashioned from the start a show centered on characters and not just sex, aiming for the heart rather than... well, other places. The L Word focused primarily on committed couple Bette (Jennifer Beals) and Tina (Laurel Holloman), a former power-career duo who've decided to have a baby; however, artificial insemination and the changing dynamics of their relationship throw their previously happy existence off-kilter. Within their orbit are spunky journalist Alice (Leisha Hailey), sultry hairdresser Shane (Katherine Moenning), closeted pro tennis player Dana (Erin Daniels), and espresso bar owner Marina (Karina Lombard) who, in the show's most polarising storyline, bedded the seemingly straight Jenny (Mia Kirschner) and shook up her heterosexual world. Jenny's "am-I-straight-or-not?" kvetching frustrated both her fiancé (Eric Mabius) and many viewers, who were alternately irritated and intrigued by her inability to decide one way or the other. But Jenny's weakness was part of The L Word's strength: in exploring many sides of many issues, both domestic and political, it never came up with an easy answer for any of them, making the show all that more fascinating--and compulsively watchable. --Mark Englehart Season 2:Once a series has broken new ground, where does it go from there? Showtime's The L Word, concerning the relationships of a community of lesbian Los Angelenos, turned heads with its smart, funny writing and fully realized characters. Season Two offers more of the same, with some notable guest stars and experiments in narrative and music. This season, Jenny (Mia Kirshner) fully embraces her sexuality as her ex-husband/roomie (Eric Mabius) departs and voyeuristic documentary filmmaker Mark (Eric Lively) and womanchaser Shane (Katherine Moennig) move in. Shane and Jenny struggle good-heartedly over the affections of new character Carmen (Sarah Shahi), who isn't given much to do plot-wise apart from occasionally spinning records and serving as one corner of the love triangle. Bette (Jennifer Beals) and Tina (Laurel Holloman) start the season on the rocks due to Bette's infidelity; the introduction of the one-dimensionally nasty Helena Peabody (Rachel Shelley) causes further friction between Bette and Tina while playing havoc with Bette's curatorial career. Meanwhile, Dana (Erin Daniels) and Alice (Leisha Hailey) go from being best friends to being a whole lot more, providing some of the most touching scenes of the season. Kit (Pam Grier) takes on The Planet, the seeming center of LA's lesbian universe, converting it into a nightclub where, conveniently, guest-starring bands can play. Strong points of the season include Bette and Kit confronting the death of their father (the superb Ossie Davis) and Shane's new job as a gopher for a high-powered Hollywood producer (the equally superb Camryn Manheim). Less strong are the distracting, neo-expressionistic passages meant to be glimpses into Jenny's creative mind and the interminable use of the series' theme song--re-interpreted in a number of genres--to the point of distraction. Mark's voyeurism, which crosses all sorts of boundaries as he installs hidden cameras around the house, is a brilliant way to challenge male viewers who may tune in just to TiVo their way to the sex scenes. That said, the arc of that particular story grows increasingly far-fetched as Mark somehow avoids criminal prosecution and instead endures the horrible fate of having Jenny refuse his offer of coffee and a muffin. Despite its flaws, The L Word is a show that deserves to be cheered on, not for its politics, but for the skillful way it conveys complex human entanglements with sensitivity. --Ryan Boudinot Season 3: The third season of The L Word is all about transitions. The season opens with Alice Pieszecki (Leisha Hailey) coping with her between-seasons break-up with Dana Fairbanks (Erin Daniels), who is herself headed for an even heavier series of transitions. Kit Porter (Pam Grier) both falls in love with a younger man and discovers she is going through menopause. Shane (Katherine Moennig), who spent much of the first t