The L Word - Season 5 |work| Site

Shane falls for Molly Kroll (Phyllis’s daughter), marking one of the few times she didn't immediately sabotage a relationship or cheat.

Season 5 of The L Word is often remembered for its camp value—the "Lesbian Girls Gone Wild" plot, the ridiculous basketball game, the pet chicken. But viewed through the lens of performance theory, it is the most intellectually rigorous season. It deconstructs the very genre it belongs to. By the final frame, we realize that the "real" drama of Season 6 was always a lie; the only truth was the chaos of Season 5. The show succeeds not when it tries to be a drama, but when it admits it is a soap opera—a carnival of masks, where the most radical act of authenticity is to stop pretending you aren't wearing one. The L Word - Season 5

The central romance of the season—the reunion of Bette (Jennifer Beals) and Tina (Laurel Holloman)—succeeds precisely because it rejects dialogue. After four seasons of articulate, Ivy League arguments, the characters are exhausted. Their reconciliation unfolds in glances across a film set, in the infamous "Lesbian Sex Scene" they film for Lez Girls (performance of performance), and finally, in the quiet of the Ferris wheel at the Los Angeles County Fair. Shane falls for Molly Kroll (Phyllis’s daughter), marking

, the movie based on Jenny Schecter’s (Mia Kirshner) book. This storyline allows the show to comment on itself, featuring actresses who play "fictionalized" versions of the main cast. Review: The L Word Season 5 - Used Brains For Sale 29 Mar 2008 — It deconstructs the very genre it belongs to