Beauvoir’s The Second Sex), “Gettin’ Bi” normalizes the coming out
process for bisexual individuals (“It’s not a phase/ I’m not
confused/ Not indecisive/ I don’t have the ‘gotta choose blues!’”),
and “Sexy French Depression” spoofs the trope of glamorized
depression.
“West Covina,” the opening song of the pilot episode, is
perhaps one of the kitschiest and stereotypical musical numbers of
the series, but this song introduces viewers to just how irrational
Rebecca’s decision to move across the country truly is. For
Rebecca, West Covina represents an opportunity to escape the
hopelessness and despair that has become her life in New York
City. The fact that Josh just so happens to live there as well is
Rebecca’s idea of a coincidental bonus, not the primary impetus of
her decision. The song, despite its Disney-esque music and showy
dance routines, serves to illuminate the obvious dullness of what
Rebecca desperately refers to as “the pride of the inland empire,”
particularly in contrast to the excitement of a place like New York
City. “West Covina” also makes obvious the reality that Rebecca’s
primary motivation for moving to California is Josh Chan, who
represents for her a prospective romantic partner on the surface
and, more intrinsically, a chance to finally answer the “When was
the last time you were truly happy” question prompted repeatedly
by the butter advertisement. It also becomes clear in this moment
that what drives Rebecca to begin rewriting her story is not just
Josh the person but Josh the idea, an idea that motivates her to
believe she can disentangle herself from reality and construct a
version of herself she hadn’t been able to find on her own.
While the first couple of episodes might imply that the
series is, at its core, just about a woman who embodies the “crazy
ex-girlfriend” archetype and the shenanigans that follow her, the
scope of the show actually extends much further. For Rebecca,
Josh represents more than just an ex-boyfriend to be won over; he
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