Condoms, peanut butter, idyllic images of Adam’s childhood being projected on a ceiling – what’s wrong with this picture? Adam and Hannah are having the kind of cutesy-loving moment experienced by any normal couple in the first blush of infatuation…it’s freaking me out! Where has all the freakiness gone?

Meanwhile Marnie is experiencing the kind of teary downward spiral that every normal person has after a breakup, complete with a slideshow of the ex with his new girlfriend set to a plaintive acoustic soundtrack.

Since the last episode’s epiphany-fest in Bushwick, it appears every power dynamic has been turned on its head:  Hannah is grounded and comfortable, Marnie is a weepy, regretful mess, Adam is being supportive and actually listening, and Charlie is off starring in a sexy Roman holiday with his new flame Audrey (Oh I get it! Clever.)

Hannah accompanies Adam to the tech rehearsal of his show. He’s a writer now! And an actor! The show is about his childhood, and (of course) sex. After running through a few scenes with Hannah as their rapt audience, Adam picks a fight with Gavin, his fellow actor, and impulsively quits. Hey, you can’t say he doesn’t value his own time! Adam rants about artistic integrity all the way home, and is nearly hit by a car. Hannah may be rethinking her desire to have Adam as more than just a casual lay.

Back at their apartment, Marnie is getting the supportive best friend treatment from Jessa – yet another example of the eerie power reversal! Jessa’s telling her everything she wants to hear: “[Audrey]’s got nothing on you. It actually makes me question his taste.” At first Marnie is skeptical of Jessa’s sincerity, but eventually accepts it – I mean, where’s her actual best friend when she needs her?

Hannah’s in the shower, recovering from Adam’s exhausting desire for closeness. She turns on the water and suddenly we’re in Psycho: A MURDERER APPEARS IN THE SHOWER! Oh it’s just Adam. WAIT HE’S PEEING ON HER! Maybe Hannah will find that sexy? NOPE SHE IS HORRIFIED.

Marnie and Jessa head out on the town to bond over drinks in pointy glasses. Who’s that at the other end of the bar? Why, it’s John, a venture capitalist played by sexy, suited Chris O’Dowd! He buys them two more pointy drinks and saunters in for a chat.

Hannah and Adam are still working through the peeing incident, now both wearing union suits as if to illustrate their neutralized sexuality. They talk about his show. Though Adam is a perfectionist who would rather throw the whole thing away if it can’t be exactly what he wants, Hannah convinces him to apologize to Gavin and salvage what she thinks is a great work of art.

At the bar, John is waxing on about the “unexpected pleasure” of hanging out with two hot ladies: Marnie and…uh, what was the other one’s name…Jenna? Ouch. Jessa isn’t used to playing the third wheel. But Marnie is determined to get some, even if it means feigning interest in John’s cringeworthy DJing skills and flaccid charm (mashing up music with the sounds of field mice?? Brilliant! Comparing Jessa’s accent to that of Oliver Twist? INSIGHTFUL.) Suddenly they’re all laid out on a shag rug. Jessa wants to leave, and in a desperate move to keep her there, Marnie plants a sexy kiss right on Jessa’s mouth. Cue the chimp noise mashup and John’s jaw hitting the floor. Oops – also hitting the floor is Marnie’s wine glass, which soaks the rug and sends John into a crazed rant about privileged daddy’s girls, Williamsburg coteries, and…bowler hats? If he weren’t so menacing he might have a valid point. But nevermind; Jessa hustles them out as Marnie mumbles “don’t hurt us.”

Cut to Hannah being woken up by Adam from a deep sleep. He drags her out to the corner, still in her union suit, and just when we think the honeymoon’s over he surprises her with the cutest art-as-apology ever. Well, ok he’s not actually apologizing to her; the wheat-paste wall of “SORRY” is for the driver whose car he banged up and for Gavin, who he nearly screwed out of $2,000. But Hannah understands.  I actually awww’d out loud.

As refreshing as it was to witness the patterns of episodes past get shaken up, I don’t for a minute think the characters have necessarily turned any corners. Girls is so much about the ambiguity of relationships and the role that minutiae can play in their establishment and destruction, that there’s bound to be yet another speeding epiphany just waiting to smack them in the face. Can’t wait!