That was fun! Bonkers and weird, of course, but more fun than weird, at least.
Fanny blows back into town with her long-term honey at her side: Michael, a jazz pianist who takes an instant fatherly shine to Michelle, even at her worst. Their arrangement has been self-consciously casual ever since Hubbell tantrumed them out of getting married thirty years ago, but the change in Fanny — overall, but particularly toward Michelle herself — is so noticeable that soon Michelle’s agitating for a more permanent arrangement. It’s not surprising, given Fanny’s bohemian mythology she has about herself, that Michael assumed she wasn’t up for that, but thanks — for once — to Michelle’s meddling, perhaps they can settle down a bit more in days to come.
One of the many sweet moments Fanny tosses Michelle’s way this week — odd, isn’t it, that the character development so often comes in the absence of the actual characters on this show — is an invite to see a play, just the two of them, in the city. There, after unending drama about nothing whatsoever, Michelle meets Connor (Chris Eigeman), the play’s director, who you may remember from every other role Chris Eigeman has ever played. Meaning that he’s off-putting and anachronistic about dumb things, and thus perfect for Michelle.