[For Mozart in the Jungle “Home” or any other recaps on Fetchland, assume the presence of possible spoilers.]

Amazon.com Summary:
Home.In the episode “Home” as the tables turn with each double cross, no one is safe. Rodrigo prepares to do whatever it takes. The future is uncertain.

The Mozart in the Jungle season two finale isn’t just entitled “Home,” it feels like home. All the elements of the season come together for us in a spectacle that comforts us but at the same time seems different, more evolved. That’s because we’ve come to know and love these characters and their quirky stories but they’ve also changed and developed into even more interesting people than they were at the start. The world of Mozart in the Jungle while incredibly specific to the New York City world of classical musicians also feels universal. It’s every workplace, family, and lover. It’s somehow an entirely foreign and niche entity while at the same time completely familiar and just like our world. By the last episode it’s so familiar, in fact, that it feels like home to us just as it does to Rodrigo and his symphony.

The episode opens with a shrieking Gloria as she reads the article in the New York Times exposing the “dirt” Nina fed to them. The piece says that Gloria spent a large sum of cash redecorating her private office but neglects to mention that she spent her own money doing it. Gloria calls Cynthia, furious, and pulls out of the deal they made thus validating Cynthia’s gripe to Nina that creating further animosity would only hurt the orchestra in these contract negotiations.

Meanwhile Rodrigo climbs a rock wall to do his own brand of negotiating with Biben, who plays hardball, even hanging off the side of a plastic cliff. Rodrigo, willing to do anything to get the orchestra the five year contract they want, agrees to resign from the orchestra as long as Biben ensures his symphony will get their deal. They make the deal and both sign off on contracts with lawyers beside them – so it’s official. Only if Biben comes through and gets the orchestra the deal will Rodrigo truly be parted from his symphony. But Biben guarantees he will come through on this. While good, this is also tragic news, of course. But then there’s more good news too because after the handshake on the rock wall, Rodrigo falls and hits his head, knocking the cursed Amusia right out of it. He decides that the curse must have been Biben all along. But no matter because his gorgeous musical tone is back and that means everything.

The next scene shows Hailey discussing her career and what move she should make. On the one hand she has blackmail threats from Betty and on the other she has an offer from Andrew Walsh to join him on tour which would make her a rare jewel among oboists because most work in symphonies. Lizzie encourages her to go the soloist route. She’s special enough to be a soloist and just needs to believe in herself. Hailey agrees and we see that she’s changed this season. Strengthened by her struggle, she’s grown into a full blown woman. This was a wish she had in earlier episodes when admiring Lizzie. Hailey remarked that Lizzie was a real woman now and wanted to join her. At last, it seems, she has joined the ranks.

Gloria calls an emergency board meeting to discuss the orchestra’s contract negotiation and Biben immediately tries to take over. He announces Rodrigo’s resignation and declares that he has Pembridge ready to be maestro again. So, Biben says they should accept the orchestra’s counterproposal and search for a new Chairman of the Board to replace Gloria given the smear campaign against her (and thus the board) in the press. Then he says, “and perhaps we won’t even have to look very far…” implying that perhaps it shall be himself. Gloria responds that she’s certain he strong-armed Rodrigo into resigning. She’s been listening to Biben these past few months saying the board needs to look out for the orchestra’s financial future and she’s come to agree with that. Gloria explains that she doesn’t think they should concede to the demands of the orchestra right now because it could be detrimental to their financial prospects. Also, she says she’ll remain Chairman of the Board for the next three years until they get over this challenging time but that then she’d be happy to have another chair take over then. “Perhaps it could even be someone at this table,” she says, “but, Biben, it will be you over my dead body,” so then it’s time to vote. The board members all vote and because Erik votes against Biben and with Gloria, the orchestra deal doesn’t go through. Not only is Erik the deciding vote, it’s also implied that he may be that fresh new Chairman of the Board in three years time.

Next we see the orchestra dressed to perform and locked out of the concert hall. They’re told it’s a lockout and they can’t go to work without a viable contract. The deal fell through. Cynthia explains that she fired Nina and how she couldn’t be trusted. Then she gives a rousing speech about how they’re warriors and leads them away from the symphony hall in a unified march. As they proceed the musicians pass a limo parked outside the hall. In the limo sits Pembridge having an imaginary conversation with the orchestra about he can’t wait to be their maestro again. Then he sees them walking out and tells the limo driver to follow. Meanwhile Rodrigo mopes on a park bench pouting when he gets a call from Mike to notify him the deal didn’t go through which means Biben didn’t keep his end of the bargain and Rodrigo can conduct again. Rodrigo’s so happy he jumps up and onto his bike to join them. Lizzie and Bradford hear about the walkout too and come film it for the classical music podcast. It’s officially a moment in history.

The orchestra sets up to do their concert in Washington Square Park right below the famous arch. Betty and Hailey sit down side by side and make peace now that it doesn’t really matter much anymore what their positions are, being on strike and all. Rodrigo joins the orchestra at the helm, joyful and ready to lead them. He says, “I find myself at home with you. This is our home,” then conducts them in their most glorious playing of the season – maybe ever. The music is revitalizing – new, delicate, and fresh. Off to the side Pembridge watches and listens saying, “He’s done it! He’s bloody well done it!” meaning the orchestra has reached a new peak of musical perfection with Rodrigo at their helm. Then he and Gloria smooch and realize they love each other.

In the final scene Rodrigo goes to Hailey’s apartment to see what she’s doing now that the orchestra is on strike. She tells him she’s joining Andrew Walsh on tour. Rodrigo says she’s different now, “There’s more thorns on your rose but still it’s so beautiful,” then she says he’s different now too and they kiss. Rodrigo starts to tell her not to go with Walsh but Hailey tells him she’s not going to Europe with Walsh just yet and a car drives up. It’s Erik, of course. He’s there to take her on the ski trip to Montana he invited her to on their first date. Erik greets Rodrigo warmly and apologizes for the walkout situation but then lies and says he voted FOR the orchestra’s demands. He and Hailey drive off together to Montana leaving a stunned Rodrigo on the sidewalk. But our hero isn’t sad for more than a second. Some music starts up in his delightful brain, lilting and fluttery like the butterflies of love. Rodrigo smiles and mounts his bike then rides off with a smile on his face as a lovely song is composed for us straight out of his brilliant and beautiful head.

There were many remarkable moments this season for Mozart in the Jungle and it was exciting fun to watch with all the grand characters and so much at stake in their lives. Truly the whole season felt like home, not just this last one, and we can’t wait to find out if the show will be renewed for a season three. It seems inevitable given that Gael Garcia Bernal won the Golden Globe for Best Actor in a Comedy Series and the show won Best Comedy Series. Also, it seems like they left us so many narrative teases; not cliffhangers exactly but just stories we’re dying to see unfold further. For instance, Erik totally lied about his vote and he’s getting down with Hailey! What’s Rodrigo going to do while the orchestra is on strike – compose? How can they get the symphony back in gear now that they finally sound amazing? We eagerly anticipate these answers and more in the next season. But we’re also grateful for all laughter and poignance in this fantastic sophomore season. You made us grizzled TV watching veterans feel things, Mozart in the Jungle, and that’s a worthy feat for which we thank you.

–Katherine Recap

[For Mozart in the Jungle “Amusia” or any other recaps on Fetchland, assume the presence of possible spoilers.]

Amazon.com Summary:
Amusia. Pembridge battles his oldest demons, Rodrigo tries to keep the world in tune, Nina and Cynthia disagree, changes will be made.

While the title, “Amusia” refers to Rodrigo’s medical condition diagnosed in this episode, the theme of the show is actually about the much more powerful and prevalent condition – love. In fact, it’s about the many expressions and types of love. At the beginning of the episode Rodrigo visits a classroom of small children and the teacher asks him how he feels about music. He explains that music is the way he connects with the world and the way he expresses his feelings. It touches every aspect of his life and means everything to him. For Rodrigo music is love and love is music. This is the heart of his musical genius. So, when he’s suddenly struck tone deaf right after saying all this to the children we witness the first type of love explored in the episode, a passionate life mission. In this episode we see this slipping away from our beloved Rodrigo.

After this we join the orchestra with guest conductor Lennox, who turns out to be quite the douche. He introduces himself to the musicians explaining that he was literally planning how to conquer Beethoven’s fifth symphony while he suckled at him mother’s teat. So, the only right way for them to play it is his way. Lennox represents self love – Narcissus gazing lovingly at his own image. But the symphony doesn’t see what Lennox sees. They see a douche and they don’t play Beethoven his way. It’s not that they don’t want to please him but just that his way’s all about anger and fury – not their usual mode. In fact, Betty the scorpion first chair oboist is first on his chopping block when Lennox finds her playing a bore and then pulls Hailey out from the back. He asks for the “young one, the pretty one” just to dig the blade into Betty a bit deeper. This is what narcissism does to others – it’s a knife that can only cut people apart so there’s no way to connect.

Meanwhile Pembridge deals with the grief over the loss of his wife and symphony drinking whiskey from the bottle. He digs an old kit entitled Pembridge’s Marvelous Musical Machine out of a closet and puts it on. It turns him into a sort of symphonic clown amalgam of various pseudo instruments including a washboard breastplate, a fireplace blower he pumps like an accordion, and an army helmet. Then, of course, fully decked-out and drunken Pembridge takes to the SoHo sidewalk outside his apartment to draw a curious crowd. Lucky for him Hailey just happens to walk by and save him from further humiliation, something he can’t yet fathom in his intoxicated state. She takes him inside and calls Cynthia who comes right over. In season one we saw the Cynthia and Pembridge entanglement so we know they have a loving history and that’s how this storyline fits perfectly into the love theme. Cynthia sweeps in to help Pembridge with such insider knowledge and instant intimacy that Hailey immediately recognizes they used to be lovers. This helps Hailey see that Cynthia has been trying to protect her with a fairy godmother type of love – to shield her from the musician-in-love-with-their-conductor firestorm she herself went through not long ago.

After Hailey leaves and Pembridge sobers up a bit he advises Cynthia to go to Gloria and hash out a deal that will work between the board and the orchestra, woman-to-woman. She does just this and together they arrange a reasonable agreement where both sides can be happy. Cynthia goes home feeling satisfied and tells Nina about it. But instead of being grateful or even pleased Nina gets bitchy. She says let her do her job. Then Nina shows Cynthia some dirt she dug up on the board and tells Cynthia she sent it to the New York Times. This upsets Cynthia who reminds Nina that she works for the symphony and they didn’t want to create more animosity like this. Then Nina tells Cynthia to go fuck herself and as Cynthia opens the door for Nina to leave she says,”That’s my plan for the foreseeable future,” and thus we see an example of love that was purely physical. So, it’s appropriate for the F bomb to fly about a bit at the end. That type of love is usually over by the end of the first spat too.

In other news, Rodrigo goes to the doctor and gets diagnosed with Amusia, a disorder that causes tone deafness; in other words – pure hell for a conductor and music aficionado. The doctor tells him it’s usually caused by a head injury and Rodrigo says it’s actually because he was cursed in Mexico. The doc immediately cancels the rest of his day’s appointments to deal with this magical maestro. Next when we see Rodrigo he’s attending the symphony to witness guest conductor Lennox leading his beloved orchestra. He slips backstage to see how things are going and finds Lennox berating Hailey and the rest of the orchestra with a nasty tirade. Right away he censures Lennox and then fires him. Rodrigo shows Papa Bear protective love for his musicians, telling Lennox he can’t treat them like that. Problem is, Rodrigo is tone deaf now – remember? How can he conduct tonight? But when Mike tells Hailey she takes action and makes it work. All she has to do is tell Warren Boyd (the first violinist who OWES Rodrigo big time) and together they get the whole symphony in whispered agreement to play with Rodrigo at the helm but paying his baton no mind. So, Rodrigo showed them protective parental love and then they immediately give it right back. His symphony plays Beethoven’s fifth symphony beautifully and maybe the real irony is that this might have been what they needed to finally be the unified symphony he’s been trying to muster out of them. They came together for his sake after all but not in any way he planned. Rodrigo’s so grateful to Hailey that right afterward he thanks her profusely. Then Hailey says she wants him to know that the orchestra really loves him and she’s not just saying that as a cheesy metaphor either. Rodrigo says he loves the orchestra too. She says, “Then can you help them?” and we see how love passes back and forth and back and forth in a self sustaining cycle. Now Rodrigo wants to help them with their contract negotiations, something he was unwilling to get involved with before. So, his love for them has evolved and he’s thus become more involved.

We find the purest true love in the scenes between Lizzie and Bradford. In the last episode they fought because his moving-in boxes took over her apartment. Bradford copped to his disorganization and to not even knowing what half the stuff was but also admitted that he couldn’t let any of it go. That was where the story left off in the last episode – a messy, frustrated impasse. But it picks up in this episode at a very different place. Lizzie brings Bradford to a large storage warehouse type loft where she’s carefully organized ALL of his stuff. Lizzie even fixed his ancient, broken film projector. She labeled and shelved everything into categories. Lizzie didn’t need to know why Bradford couldn’t let this stuff go in order to do this for him. Just him saying he couldn’t let it go was enough. That’s real love. They sit together and play one of his hundreds of tape recordings and it’s an interview Bradford did with his father as a small child. Then we find out Bradford’s father has died because Lizzie says she wishes she could have met him. She asks him how he feels and Bradford says, “What’s the word for this?” and puts his head in her lap.

Unfortunately, the episode doesn’t end in such a loving place. Instead the conclusion lies in the scorpion’s lair. Hailey goes to Betty’s apartment where she meets another oboist who also happens to be Betty’s lover. He offers Hailey a job as second chair for the Des Moines Philharmonic and when she graciously turns it down says she can think about it and get back to him later. Then he leaves them to make Betty an omelette so she can sink her scorpion claws into Hailey. She tells Hailey it’s time to move to Iowa. Betty threatens that if Hailey doesn’t take the Des Moines job, she’ll tell “everyone” about the romance that blossomed between Hailey and Rodrigo in Mexico, thus hurting both of them and their careers. Sadly there’s no love to speak of in this scene. Instead, this part points to the loss of love. It is part of the process, unfortunately. At one point Betty was Hailey’s teacher, then her peer, and even her friend. But now all those forms of love between them are gone and she’s merely a foe. That’s one of the things that can happen with love too. Sometimes it just leaves.

There’s one episode left and a lot happening here which will all come to fruition in the next and final episode of the season. So many questions linger. What will happen with Rodrigo’s cursed ear? Will the orchestra go on strike? What’s Hailey’s next career move? And will Pembridge ever get it together? Lucky you can just watch it right away if you like and find out all these answers and more because it’s all out there for your streaming pleasure. The next recap, though will have to wait until tomorrow.

–Katherine Recap

[For Mozart in the Jungle “Leave Everything Behind” or any other recaps on Fetchland, assume the presence of possible spoilers.]

Amazon.com Summary:
Leave Everything Behind. With each double cross between the board and orchestra, Rodrigo prepares to do whatever it takes.

Episode eight bursts with beginnings and endings just like the cycle of life. Thus, the title, “Leave Everything Behind,” isn’t just something a character says but also the resonant theme of this particular show. Rodrigo plays a crucial role in this theme too but in an oppositional way because he keeps reminding us throughout the episode that this “everything” we’re all so attached to is nothing really; a mere whiff, a delusion in our mind. So, why is leaving “everything” all behind so hard for us? Rodrigo would say because we are human and what’s in our mind is all that matters to us anyway. And he would be right.

The show opens as Thomas Pembridge brings his wife, Claire, flowers along with the signed divorce papers she so wanted from him. At last, he says, that is all now over behind us so we can begin again as friends. Now sit down and listen to the glorious symphony I just finished composing. So, Claire sits and patiently puts on the headphones to listen to the symphony Pembridge has spent the past three decades composing. After a few seconds Claire grimaces, winces, and then slumps down in her chair. Pembridge begs of her, “Was that an exhausted slump or a your-career-is-over slump?” but it turns out it’s a Claire-is-dead slump. She’s gone and his music was probably what killed her.

In the next scene at Claire’s funeral the orchestral management board and musicians are forced to see each other again after their disastrous contract meeting. Even Nina attends and whispers in the pews along with the players about their next move. They decide Hailey should go out with Eric Winklestein, the hot venture capitalist on the board that she flirted with at the benefit. Maybe Hailey can find out which way the board’s votes are leaning on their contract. Meanwhile, focused on the actual funeral, Pembridge addresses the crowd and puts the one copy of his symphony in the casket with Claire. He declares that now it belongs only to her and that she’s buried with the murder weapon.

Then we see Rodrigo on his way to visit Ana Maria, yet another wife who wants divorce papers signed. He tells Mike maybe by doing this he can lift the curse, a necessity now because he’s literally bleeding out of his ear. Mike asks Rodrigo if he thinks it’s possible the curse is just psychosomatic and Rodrigo says, ‘Of course it is! Everything is. The music. You. me. The way we experience things, it’s all psychosomatic,” which is exactly why we love Rodrigo so much. He’s a living breathing embodiment of all that’s true, insightful, and artistic. When he knocks on the door of the convent where Ana Maria now lives we realize why she’s seeking the divorce. Rodrigo then hears her playing her violin in the back garden and goes to her. Ana Maria explains that she’s going to “Leave Everything Behind” and take her vows. He says she’s over reacting to a fight they had and they can always work things out. She replies, “Why is it always about you?” and he says, “It just is,” and then tells her how he was cursed for turning down Maestro Rivera but that now he needs to find his place. Ana Maria says she too must find her place and it’s here at the convent and with God so he must release her and sign the papers. She insists. So, Rodrigo signs them all the while muttering that it’s just a paper. They share a passionate kiss, perturbing a nun who happens to be walking by in the garden, then Rodrigo leaves everything behind and goes back to the car and Mike. He tells Mike the curse can leave him now and they’re both relieved but then a bird suddenly falls down dead right next to them and they both know it’s not true. The curse remains.

Back at the funeral the musicians discover the smear article the board sent to the papers showing Kristoff in front of a Porsche. Such decadence! Gloria knows right away that it was the PR guy doing Biben’s dirty work and confronts him. He basically says he’s going with the winners on this one and Biben’s in the winners circle if you measure winning by dolla dolla bills, y’all. Then Biben approaches Pembridge and for the zillionth time asks him to take over the role of symphony conductor. Pembridge rightfully asks why Biben is so obsessed with him coming back and Biben admits that Pembridge reminds him of his father and Rodrigo his despised stepbrother, a cocky little prick. That’s the thing about business decisions… they’re so often actually brilliantly disguised personal decisions. After this Pembridge tells Rodrigo he really needs to know his thoughts on the symphony, which is now dead and buried, “I need your eulogy,” he says with his requisite hyperbole. Rodrigo tells him it’s one of those things where you have to allow yourself to write the bad thing so that the good stuff can come out later. It’s a very accurate representation of the creative process, this observation, and there’s plenty of time to get better. That’s the problem, Pembridge replies, Claire too thought there was enough time. Touché, Maestro. Touché.

Meanwhile Hailey goes out on a date with Erik Winklestein, hot venture capitalist, in an attempt to acquire secret information (which Lizzie accurately describes as some seriously Spy Kids shit). But Hailey forgets all about being a spy because she has so much fun with Erik. They’re flirty and fantastic together with Erik even saying that since that night at the benefit he can’t get learning Spanish out of his mind because he wants to be able to charm a room like Rodrigo did. Afterward he invites her to go skiing in Montana in a couple weeks and Hailey wants to go but can’t because she’s got to be available as a sub for the symphony. Then Erik says he doesn’t want to screw up the date and “talk shop” but she might find that she’s got some free time coming up after all. Then Hailey says let’s not talk at all and kisses him and they’re off to the smoochtown races. Thus we now know that the board is going to vote against the musicians and they’ll likely be on strike, out of work, and there won’t be any music. An imminent ending lies before us as the episode closes. Yet there’s also a new beginning as Hailey and Erik walk arms around each other through the chilly rain, the kindling embers of romantic hope keeping them warm.

–Katherine Recap

[For Mozart in the Jungle “Can You Marry a Moon?” or any other recaps on Fetchland, assume the presence of possible spoilers.]

Amazon.com Summary:
Can You Marry a Moon?. Rodrigo develops a mysterious ailment and must adjust his sense while filming a virtual reality video game.

Someone not schooled in the fabled tales of America’s Indigenous People may not recognize the phrase, “Can You Marry a Moon?” but if you’d like to take a look here’s a succinct version The Girl who Married the Moon.The overarching message reflects the importance of patience and negotiating with care for the best end result in a dispute. This episode is filled with just these sorts arbitrations. Some are obvious; the symphony negotiating their contract with the orchestral board, and others less so, like Rodrigo with his mysterious new symptoms and Hailey negotiating her living situation. While watching the episode it would be easy to miss the reference to the title because Rodrigo throws the line away while ranting about his divorce papers, in fact tearing them up with frustration that he can’t have a marriage like the man and woman of the moon from the story. But even if Rodrigo speaks the line in an offhanded way, it’s crucial and not just because it’s the episode title. It speaks volumes for this particular piece of Mozart in the Jungle, an episode of unending disputes and negotiations under and above the surface of the story.

The first scene reveals Rodrigo’s newfound struggle with tinnitus and subsequent crankiness. Then Mike finally gets him to sign the divorce papers and he sort of semi signs them and rips them into pieces before saying they are both signed and not signed and that it all means nothing. He walks away pish poshing Mike’s suggestion that perhaps his wife met someone new and perhaps that’s why she seeks the divorce.

Next we see the symphony players celebrate Betty’s thirty five year anniversary with the orchestra. There’s a telling moment when Cynthia (who knows Betty well) says she “fittingly” gets the scorpion drink and Betty agrees that it fits, calling herself an “insect of death,” but everyone’s having too much fun at the party to sense the foreboding this statement entails. The stripper brought in for Betty plays the part of Johann Sebastian Cock with a titillating bravado that keeps their spirits high. Hailey keeps drinking until after the party, drunkenly lounging with Betty and Cynthia, she confides about the romantic moment with Rodrigo in Mexico. Then before taking Hailey home, Cynthia tries to arouse compassion in Betty saying, “We were all young once and falling in love with teacher,” but Betty clearly has no empathy for her fellow oboist and thus we see the first snap of her scorpion claw.

The orchestral players sit with management with Nina at their helm around a long mahogany table and surrounded by floor-to ceiling-legal book emblazened walls. Turns out the offer from management isn’t good enough and, adding insult to injury, villainous board member, Biben snarks at them. The musicians respond with percussion: taps on glasses, fingers drumming the table, and tic tac maracas. Then Nina tells the board they’re not in a position to tell musicians when they can and can’t play if they have no signed contract. She’s satisfied with how the meeting went, though nothing was accomplished. Meanwhile the orchestra and Gloria are peeved. They know the music and their careers are at stake here and Nina gets paid no matter if they win or lose. It’s back to the drawing board and their trust in Nina stays shaky from here forward.

Back at Hailey and Lizzie’s apartment Hailey continues to look for her own place with little luck and Bradford moves in with boxes up the wazoo. He and Lizzie have their first fight as box after box fills their already cozy place. There’s hardly anywhere to walk and the stacks are getting higher. Lizzie confronts Bradford on what appears to be hoarding and he says he told her about his baggage… but she thought he just meant emotionally. But Lizzie and Bradford are a cool couple because they’re direct and clear with each other, so during this fight they get right to root of the problem. It turns out Bradford doesn’t even know what half this stuff is but he does know he can’t let it go because it’s all recordings of his work that he may need someday. They’re on the road to negotiation now that they know the true stakes.

Next we see Rodrigo in a green screen studio making a virtual reality video game so that kids can play at being little maestros. So, he’s all dressed up in the suit with the balls attached for computer assignation of his body parts in motion. Rodrigo’s having trouble pretend-conducting with the newfound tinnitus and believes it’s due to the curse from Maestro Rivera. Meanwhile he’s unaware that there actually IS a threat to his well being. Behind the scenes Biben conspires to make Rodrigo seem like a rich spoiled artist. This is so management can raise the public ire against the musicians’ side of the contract negotiations. If Biben’s plan goes through they’ll send a picture of the symphony’s Kristoff standing in front of a fancy car to the papers – which is mad ironic because he, like most orchestra members, is actually pretty broke and was just standing in front of a Porsche aspirationally.

There are other conductors also filming at the virtual reality studio and wearing the bodysuits covered in balls, Pembridge included. Then the cellist Andrew Walsh shows up in his very own bodysuit with balls, late to the party because of an “early tee time and late flight”. He ingratiates himself with all the maestros but Rodrigo then by sharing photos of his latest art project, the nude women with cello marks he painted on their backs. Rodrigo joins the group looking at Walsh’s phone as the other maestros ooh and ahh. But all he says is, “cliché,” until he asks how Walsh gets them to pose so vulnerably. Walsh says he asks them to do it after they’ve just had sex with him. Again Rodrigo says, “cliché,” but then Walsh shows Rodrigo the picture of Hailey with the cello marks. So, stunned Rodrigo grabs the phone and hurls it across the room to smash against the wall. He says, “Keep you hands out of my orchestra!” and a fight breaks out with all the maestros in their balled bodysuits waging war against each other. In the final shot the camera pans over to the computer simulations of their tired old maestro stick figures fighting via green screen. Once again, there are no negotiations here.

–Katherine Recap

[For Mozart in the Jungle “How to Make God Laugh” or any other recaps on Fetchland, assume the presence of possible spoilers.]

Amazon.com Summary:
How to Make God Laugh. Rodrigo shows Hailey HIS Mexico then his mentor asks him to fulfill a promise, Cynthia gets a surprise visitor.

The theme of “How to Make God Laugh” is destiny and that’s clear from the title, which implies that there’s a higher power plan out there for us, regardless of any personally prescribed plans we may have made for ourselves. Many elements of the episode point to this idea but it’s most poignant in the dynamic between Rodrigo and Hailey, coloring their every glorious moment together. We already knew they were good together, inspiring, learning, and creating all the time together and now we start seeing that maybe they’re also on some level “meant to be”.

If you’ve ever heard the question, “Do you know how to make God laugh?” you’ve probably also heard the answer, “Tell them your plans,” which is a funny and rather well-known saying. But Hailey’s never heard it. Rodrigo asks her the question in the first part of the episode and she suggests tickling might make God laugh to which Rodrigo replies, of course not, everybody knows God’s not ticklish. Then he grabs her hand and runs out with her to escape far far away from all the plans listed on his itinerary for the day. Instead they spend it seeing HIS Mexico and bonding. It’s perfectly lovely.

Meanwhile, Pembridge finally arrives in Mexico after his flight was delayed forcing him to semi-sleep on a marble floor in the Houston airport the night before. He’s cranky, exhausted, and – as usual – completely self-interested. Thus Pembridge doesn’t notice that Gloria hides Pavel in her hotel room when the ex maestro crashes there until their imminent meeting with the richest man in Mexico, Juan Delgado. Pavel gets irritated that Gloria keeps hiding him and tells her that back in his country he was a bio engineer. It’s unclear if it’s really a class issue for Gloria (as Pavel implies) and seems more likely she may be hiding him simply because they work together and it would be deemed untoward by the rest of the board. She’s preoccupied with Pavel and thus, though stunning in a red polka dot dress, Gloria’s pitch to Juan Delgado falls flat. Luckily she’s got Pembridge on hand and he’s a thrill in comparison. He truly inspires Delgado with his “wild horses” artistic style and thus all will be well for the New York Symphony for they will have all the funding they need. Turns out back at the hotel that Gloria’s not the only one getting unexpectedly laid in Mexico because Nina surprises Cynthia by showing up there too and the two gorgeous women finally consummate their lust.

In the middle of the episode Rodrigo takes Hailey home to his sweet Grandma. She adores Hailey, sends them shopping for ingredients and then cooks them a delicioso dinner. Afterward she reads the coffee grinds left in Hailey’s cup to tell Rodrigo his destiny with Hailey. She sees a connection between them; passion and love but not right away – years from now… and she even sees kids for them too. But when Rodrigo translates what his Grandma said for Hailey he lies, saying that she just talked about their love of music and that Hailey will have a great career someday. Then Grandma gives Hailey some family heirloom earrings. After dinner Rodrigo shows Hailey his childhood bedroom, perfectly preserved like a time capsule, and she’s surprised to find out he was much the same nerd she was as a kid. They kiss but then it’s interrupted by Grandma sporting an angry and vigilant broom. The furious mamacita shouts that the kiddos aren’t supposed to come “for many years” and not in her house! and not in front of the Jesus statue! Hailey laughs as Granny forces Rodrigo out of the room for the night, poking him over and over with her red broom handle.

The next day Rodrigo visits his mentor, Maestro Rivera at the school where he was taught as a child. Hailey hangs back but is listening as Maestro insists that Rodrigo continue his legacy and lead the school now that he’s ready to retire. He insists that this is Rodrigo’s duty, a sacrament that he must fulfill. When Rodrigo says he can’t and that he has to serve the symphony in New York Maestro Rivera says he’s broken his heart. He says Rodrigo killed him then and curses him, touching Rodrigo’s chest right where his heart lies. This is a case where Rodrigo rejects the destiny another parent figure has determined for him. That’s the funny thing about destiny, there’s always a choice to follow or not and we have to make that choice even if ours ends up being that we choose not to believe in such things. Or if we deny that it’s even about us, as Rodrigo seems to be doing here. It’s still a choice he’s making, a painful one.

On the flight back to New York Rodrigo and Hailey agree that this was a terrible occurrence between him and his mentor. He feels sick from it, he says. Then Hailey tells him she knows he lied when he translated what his Granny said and jokes about how he’s the father of her children. Rodrigo gets called back to first class by Gloria and Pembridge and the episode ends as the curtain between first and second class closes off their connection – perhaps a symbol of what keeps them apart for the next few years. He’s the leader of the orchestra and she’s the rookie. But eventually they may be at the same place… and knowing that makes all the difference.

–Katherine Recap

[For Mozart in the Jungle “Regresso Del Rey” or any other recaps on Fetchland, assume the presence of possible spoilers.]

Amazon.com Summary:
Regresso Del Rey. An adventure through Mexico City ensues when a stolen violin threatens the tour’s final concert in front of Rodrigo’s mentor.

“Regresso Del Rey” translates into english as “Return of the King,” and this is an adventurous episode, though not quite as epic as Tolkien’s final book of that famous trilogy. The orchestra is touring Latin America with their final stop Mexico City, Rodrigo’s home. So, he’s the returning king of the episode title. But the theme of this one isn’t really the returning king, it’s all about mystery. From the mystery taco Rodrigo eats and soon regrets Warren Boyd’s missing violin, the mysteries are many and their unfurling makes for a mighty fun trip.

Unfortunately for Hailey, she’s not to embark on the easy breezy tour through Latin America she anticipated because Mike’s passport expired and thus she must fill in as Rodrigo’s assistant for the interim. Hailey’s with him all the time at first, even as Rodrigo eats a street taco which she wisely passes on. When asked what’s in it Rodrigo says, “It’s a mystery – that’s why it tastes so good”. Then as he’s throwing up throughout the following scene she’s making arrangements for their final performance. Rodrigo has been worried about this particular performance since the first episode because his father figure and mentor will be there watching. But now here he is on the brink of the big gig and all Rodrigo can think is that he lost his strong Mexican stomach in America and didn’t even know how much he missed it until now.

But there’s no time to fret once his stomach’s emptied because there’s a crisis at the hotel – Warren Boyd, the first chair violinist was attacked. His taped-up glasses askew and a bruise on his noggin, Warren’s mighty flustered because his beloved and priceless Bergozi violin is gone. Luckily, Rodrigo saves the day and says, “If there’s a Bergozi on the move in Mexico City I know just who to call,” and ZIP his friend arrives in a flash… and looking flashy too. Their fixer, Manuel/Manu takes an instant liking to beautiful Hailey so, Rodrigo insists she go back inside the hotel, “to answer emails,” and Warren and Rodrigo get in the car with Manuel. Then this unlikely trio of guys are off to solve the mystery of the missing violin. At first it seems Manu might be a detective but his unorthodox methods soon reveal otherwise when he drives up on sidewalks and opens car doors with a wire hanger. But Rodrigo calls him “brother” so we know he’s good people. Manu explains that if there’s a Bergozi on the streets all they need to do is find this guy, Erasmo, and he’ll know where it is. He’s apparently THE priceless violin guy in Mexico City. The unfortunate caveat – nobody ever knows where the damn guy is.

They search for the mysterious Erasmo at strip clubs, alleyways, and various dark rooms but we get a sense that Manu isn’t just looking for Erasmo because he never takes off his sunglasses and is constantly skulking off to the side to whisper into his cellphone. Along the way Manu also asks Warren Boyd a few pointed questions about the attack to get a clear picture of what happened. But their primary focus is finding Erasmo, who they’re certain has all the relevant info. Then, finally after what seems an eternity of searching, they meet the mysterious Erasmo who offers them a primo violin for 150,000 pesos. Erasmo plays them a few gorgeous notes on it and declares that he hears every note in this city, “and if there was a Bergozi here I would know,” but he’s heard not a pluck of a Bergozi string. They leave Erasmo’s with the temporary replacement violin so Boyd can play in the concert for Rodrigo’s mentor that night. As they leave Erasmo’s hideaway Manu asks Warren Boyd one more question about his attack and then promises to have the violin for them soon. Rodrigo says Manuel always keeps his promises.

Despite these challenges, the symphony plays a magnificent concert the following night. Rodrigo’s mentor points out a few flaws but was overwhelmingly impressed with how much the symphony improved with Rodrigo’s conducting. He seems to see every little detail of the performance and even notices that Hailey “played with the blood” which makes her smile. After the show Manuel comes to Rodrigo and says he’s found the Bergozi. So, Warren goes with him to meet Manu outside the concert hall where the violin mystery finally unravels for all of us. It turns out Manuel is a sort of free range detective and that he’s been deducing the true story from Warren’s many telltale tiny clues all along. Manu informs us that the truth is Warren Boyd was never actually attacked. He faked the whole thing to collect the insurance money on his priceless violin. Manu shows Rodrigo and Warren the package Boyd gave to the concierge at the hotel to mail back to the states for him. They open it and inside is the famous Bergozi. It was back at the hotel all along, right where Warren Boyd had left it. Warren explains to Rodrigo that he’s got two girls in college and a second mortgage on a Manhattan apartment he can’t afford… these things coupled with fears of an imminent symphony spiraled him into financial panic and thus, bad decision-making.

Rodrigo plays the confession scene like a king disappointed in his right hand man – his concertino and first chair violin. But no, he won’t turn Warren Boyd in to the police for this because Rodrigo forgives the crime. Warren Boyd’s future role in the symphony, though, remains uncertain. Rodrigo offers him no guarantee and thus Boyd’s punishment will be to live with that uncertainty mixed with a certain guilt that he betrayed his king.

This was the first episode of Mozart in the Jungle to really stick to one main storyline all the way through. There was a brief sidebar when we saw sexual tension among orchestra players and snuck a peek at Gloria and Pavel sharing a hotel room. But for the most part this episode belonged entirely to the king and his right hand man. It was an adventurous way to introduce Rodrigo at home again but the true party has hardly started because the good stuff awaits in episode six. That’s right, it’s finally here, the best episode of the season is next and it’s a doozy. Get ready for laughs, romance, surprises, and even a glimpse into Rodrigo’s sweet, sad, vulnerable side. It’s a glorious visit to the place that made Rodrigo who he is and also forces him to face all the ways he’s changed. Luckily, he’s got Hailey by his side this time.

–Katherine Recap

[For Mozart in the Jungle “Touché, Maestro, Touché” or any other recaps on Fetchland, assume the presence of possible spoilers.]

Amazon.com Summary:
Touché, Maestro, Touché. Hailey goes out with a famous guest Cellist, Pembridge and Rodrigo enjoy a guys night in, and Gloria proves herself.

Searching is the theme of Mozart in the Jungle episode four. They haven’t left for Mexico yet but these characters are already on their way somewhere. Hailey explores the world of elite classical musicians, Rodrigo and Pembridge reach a newfound echelon of consciousness, and Gloria harkens back to her former self in a search that takes her to the most unexpected place of all. It begins, as many explorations do, with an inspiring guest, in this case the famous cellist Andrew Walsh (played by Dermot Mulroney) who brings fresh insight on the status quo of the orchestra. In this case his insight is merely that Rodrigo needs to cut down on the cookies… but it’s new thinking nonetheless.

The show opens on the symphony now glorious with the addition of the star cellist who’s a free agent in the classical music world; a nomad who comes and goes as he pleases, and sexy too. After the performance he introduces himself to Hailey and invites her out “to see Lang Lang play” (Lang Lang is a virtuouso Chinese pianist) after sniffing around red-lipped stunner Cynthia in such a way that it’s clear they previously slept together. Meanwhile outside the concert hall Rodrigo gazes at the photo of Hailey on the marquis outside when Pembridge comes by in a limo and offers him a ride. So, Rodrigo puts his bike in the trunk and joins his hermano maestro for the evening.

Turns out Walsh was using the verb “play” as a double entendre because he takes Hailet to a bar party that doubles as a sort of playground for the classical elite. World-renowned pianist Emanuel Ax plays ping pong with Joshua Bell, famous violinist, while Lang Lang asks Hailey for dating advice. They bowl and play assorted arcade games then end up in a photo booth together, Hailey ensconced in the middle of all this musical genius. She’s in heaven. It’s a whole new world and, though surrounded by virile young men, it’s clear Walsh is the Aladdin to Hailey’s Jasmine. After the party she goes back to Walsh’s place and he paints cello marks on her naked back to take a photo before they fall into each other’s arms for the night. Later in the after sex glow they talk about their careers and Hailey’s intrigued by Walsh’s independence and happiness as he travels the world playing music freelance style.

Back at Pembridge’s apartment it’s pity party time as he explains to Rodrigo his “fugue of despair” AKA divorce papers, a bittersweet symphony. He pulls out a bottle of booze and Rodrigo stops him from opening it saying it’s poison for Pembridge (who gave up drinking) and they don’t need it. Maestro is mad grateful and Rodrigo says that’s what hermanos are for. Then he offers up a way for them to seek their own brand of abyss – booze free. His friend in Fort lee, New Jersey gave him this odd hallucinogenic concoction of resin, mushroom, and frog venom which, though they both declare “smells like shit” they also immediately start eating. Before long they’re curled up in a tent they concocted on the floor of Pembridge’s study to play a mind blowingly funny game of question and answer. Their deadpan faces and absurd commentary are laugh out loud hilarious and then they get serious, talk about mothers and death and recite a loving poem to each other in unison before Pembridge passes out on the couch. Then Rodrigo stays up to conduct an imaginary orchestra but gets distracted by the luminous face of imaginary Hailey, sitting in the oboe chair and looking at him that way he loves.

All the while Gloria is off on her own brand of adventure, an open mike night. She tantalizes the room in a gorgeous sequin dress with a sexy song. She doesn’t see Pavel from the orchestral crew in the audience but there he is with his Czech absinthe and beard, leaning against the brick wall. Gloria walks over near the wall to sing the end of the sultry song and then recognizes Pavel. She sings to him, even rubbing up against him a little. After her song she joins Pavel for a drink and it turns out he just happens to be a regular at this place because it’s right by his apartment. He compliments her voice and Gloria says it was the last place she expected to see someone she knew. Pavel asks her what she’s doing there and she says, “Searching… I suppose,” and then the episode ends as Rodrigo’s assistant tells him it’s time to go to JFK and get on their plane to Mexico. So, their journeys continue.

–Katherine Recap

[For Mozart in the Jungle “It All Depends on You” or any other recaps on Fetchland, assume the presence of possible spoilers.]

Amazon.com Summary:
It All Depends on You. For Mozart in the Jungle Episode “It All Depends on You” Rodrigo gets evicted, Hailey thinks about her future, and some musicians get heated.

Episode three, “It All Depends on You,” is titled ironically. Many people think they know what ironic means, including Alanis Morissette, but many people are wrong. The true definition of ironic is “happening in the the opposite way of what is expected” which actually has nothing to do with coincidence or cuteness, the oft-cited but still incorrect usage of the word irony. So, in an ironic twist, the episode is titled, “It All Depends on You,” but then the events in the episode revolve around characters quickly and easily being replaced, often to their great dismay. Turns out it didn’t all depend on them and we could all learn a thing or two from that Beyonce song and just accept that nobody is Irreplaceable after all.

We open on Rodrigo waking up after the night of his drum circle debauchery with some consequences to face. Turns out last night’s loud cries of passion may have just been the last straw for his free ride in the apartment of our dreams. The building manager tells Rodrigo it’s time to go and he’s fine with it. One thing that’s lovely about his character, he knows how to go with the flow of life. So, Gloria takes him in because she’s got plenty of room in her townhouse and, as head of the orchestral board, she’s kinda like his caretaker. When he comes over Rodrigo hears Gloria singing in the shower and (seeing as how she’s Bernadette Peters) he’s captivated by her gorgeous voice. He tells her she must get back into singing for an audience again because, “We are notes in this beautiful concert of existence. If we don’t play ourselves, nobody will,” which, luckily, inspires Gloria as much as it does us.

Meanwhile Hailey also gets inspired when she visits a famous old oboist that Bradford interviews for his classical music podcast. The oboist tells Hailey she can’t be so shy if she wants to be first chair, she’s got to be a showoff – a prima donna. Essentially he gives her exactly the same advice that Rodrigo just gave Gloria. Hailey’s inspired by it and even tells Lizzie maybe it’s time to get her own apartment so Lizzie and Bradford can play house while Hailey has adventures.

Back at the symphony there’s another changing of the guard at hand because their appointed guest conductor has just unexpectedly died and will need to be replaced pronto. So, Rodrigo sends condolences and then discusses potential replacements but isn’t at all pleased with Pembridge’s first choice. It’s Lennox, a hot young prodigy that people say, “can conduct all night long,” and has the same bad boy reputation Rodrigo did when he began conducting for the NY Symphony. Rodrigo’s clearly intimidated at the prospect of being replaced. Then it immediately gets worse when he encounters Lennox conducting his orchestra in Beethoven’s fifth, a baby strapped to his back, cause he’s cool like that. Lennox immediately tells Rodrigo and Pembridge they’re two of his idols “from the older generation,” … the horror. But everybody pretends to like each other, except the baby. It’s the first ever to not be in love with Rodrigo. A real blow to his RodrEGO.

Unfortunately, this isn’t the only disappointment for Rodrigo because later he goes to the park and finds his symphony playing the softball he forbade. Hailey sees him hiding in the trees and walks over. She asks why he’s spying when he could just come on the field and stop them. Rodrigo says he got conflicted because the game was getting so good. Then they stand awkwardly, arms crossed and he asks about her oboe practice. Good good, it’s going really well, she says. Rodrigo snarks that he’s glad she’s not getting distracted by “social distractions” and Hailey says, “Like donor events?” and then points out that he told her the falcon must take wing and she’s the falcon. He asks what she’s talking about and she says he knows and what’s he talking about? Then they have the hilarious back and forth, “I’m talking about what I’m talking about,” followed by her responding, “I don’t think you are because we never talk about what we’re talking about,” which does indeed seem to be the case. But before they can reach any clarity there’s an accident on the field with Betty, the first chair oboist. Her finger appears to be broken and she won’t be able to play for awhile. “Hope you’ve got your passport in order because it looks like you’ll be going to Mexico,” Betty says to Hailey. Thus, the episode concludes with yet another unexpected changing of the guard. There was a lot of change packed into this one but it all gets kicked into even higher gear soon when they finally go to Mexico. Yes that’s right, Rodrigo goes home.

–Katherine Recap

[For Mozart in the Jungle “Nothing Resonates Like Rhinoceros Foreskin” or any other recaps on Fetchland, assume the presence of possible spoilers.]

Amazon.com Summary:
Nothing Resonates Like Rhinoceros Foreskin. Rodrigo makes some changes in how he conducts; Gloria extends an unusual invitation to Hailey.

The amazing title of season two’s second episode for Mozart in the Jungle, “Nothing Resonates Like Rhinoceros Foreskin,” says it all literally and figuratively. The phrase comes from a joke the Jason Schwartzman character, Bradford, says in one of the episode’s early scenes. He and his girlfriend, Lizzie (Hailey’s roomie) just returned from a six week trip to collect rare, exotic musical instruments. One such instrument is the tiny drum Bradford holds up to Alex (Hailey’s boyfriend) and says, “Tap it as softly as you can,” then the sound thrums gently and Bradford delivers the hilarious title line that turns out not just a joke but also the resonant theme of the episode. Sometimes when you shift your perspective just a tiny bit, everything changes. We hear this idea again only moments later when Lizzie passes along some wizened, just-acquired-world-traveler advice to the flummoxed Hailey. She tells her to just look at things a little differently for answers to her multitude of looming life questions.

Lizzie clears things right away, like a windshield wiper to Hailey’s foggy lovesick brain. Entering the living room they share Lizzie asks what Hailey sees and she says, “Mike making our guests really uncomfortable,” while their friend, Mike, gets into the lilting acoustic music with a hardcore dance. But Lizzie sees something else in Mike, “an energetic young man who’s full of potential; lives and breathes music everyday,” the precise qualities needed for Hailey’s replacement to assist Rodrigo. Thus with a simple flip of the switch Lizzie turns the light on for Hailey and solves one of her major challenges.

Meanwhile at rehearsal newfound “Stern Papa” Rodrigo has finally arrived and it’s no more happy fun ball for the symphony. He lectures them about their bad behavior, takes away their softball team, and threatens culprits with removal from the orchestra if a cellphone ever goes off again during a performance. Then without hesitation he pounces into passionate conducting and seizes the opportunity of their fired up angry blood with a flowering of powerful music. This shows a serious shift in perspective for Rodrigo which deeply affects the orchestra. They’re already playing better and are more cohesive only seconds after his speech.

Thomas Pembridge also has boiling blood from the feedback of his dear friend and brilliant pianist, Winslow, perfectly portrayed by master thespian, Wallace Shawn. After he shares the symphony he’s been composing, Pembridge finds a rude awakening in store – the truth. Turns out Winslow thinks it stinks. In fact, he says even great conductors can’t really become decent composers because they’ve spent their lives studying all the best music and thus can only ever create derivative work. It’s hopeless, Pembridge! So, he responds in his classic fashion and tells Winslow to put on some rubber gloves and go fuck himself, though it pains him to say so… but not really. Pembridge boots him right out of the apartment, deaf to Winslow’s cries of, “I’m sensitive there! Oh you’re tickling me! Ouch that smarts!” etc. With Wallace Shawn and Malcolm Macdowell at the helm, the scene can’t help but be hilarious.

Then Gloria shows Hailey some new art that the orchestra wants to use for their new ad campaign and it’s a giant picture of Hailey’s gorgeous face. She says, “But I’m just a substitute…” and they insist that she’s part of the team who will just happen to bring a more youthful vitality to the symphony’s image. This will help them change the way hipsters see the orchestra and hopefully get fresh young patrons and ticket buyers. So, everybody is trying to shift everybody else’s point of view in this episode. It’s epidemic. Luckily Hailey’s totally fine with them using her image and even agrees to attend a donors banquet that Gloria’s hosting to bring in younger patronage. In fact, she cancels her plans to please Gloria.

Afterward Hailey visits Rodrigo’s apartment to find him gazing sadly at his divorce papers. Did you forget he was married to that wild violinist? Yes… but not for long. He’s hesitant to sign and grateful for the distraction when Hailey shows up… but not for long. She’s got news. They stand on the spectacular terrace where Rodrigo lives rent-free thanks to a rich orchestral patron and it’s a challenge not to die from amazement that anyone could possibly have this view of Manhattan RENT-FREE but such is the luck of the extraordinary Rodrigo. Hailey then introduces Mike as Rodrigo’s new assistant. At first he wants nothing to do with Mike but after challenging him to a series of Herculean tasks and questions all of which Mike easily conquers, Rodrigo has to admit that Mike is indeed the perfect replacement for Hailey. She’s thus now free to practice her oboe till the cows come home – an oboists heaven – and all it took was a change in Rodrigo’s point of view.

Next the symphony musician representatives meet at a pizza place to discuss their contract negotiations. Cynthia announces that the management board (led by Gloria) rejected their terms and many of them react with insecurity and say they’re asking the board for too much and should “just take what we can get,” as Nina, their new lawyer joins them. She’s here to play hardball and calls them wimps. Nina insists that their best next move is to get some dirt on the board members and leak it to the press. Cynthia then pulls Nina aside to remind her that she works for them and needs to represent the orchestra’s interests. Nina agrees but also diverts Cynthia saying she can’t concentrate around her because she’s so sexy. Cynthia blushes and then Nina says, “Jesus, could you get more hot?” and we can confidently state that no, it doesn’t get much hotter than Saffron Burrows. So, Nina shifted Cynthia’s attention in this scene away from the topic at hand (doing her job) and turned it into a flirtation. It will be a long time before Cynthia gets her mind back on the symphony’s interests rather than her own sexual desires. So, though Nina may be a shark and possibly even a good lawyer, she’s not what this orchestra needs right now.

In the following scene Gloria hosts the benefit for young donors in her enormous apartment. She proposes an idea for a new hall with perfect acoustics and a message to the classical music world that the New York Symphony respresents the future. Gloria then rolls out a cake in the shape of this new modern hall and Rodrigo tells the group of young rich peeps (in Spanish) that he hopes to one day call it home. Hailey then meets one of the generous young donors, a stock market guy named Eric and sparks fly between them. Rodrigo sees this flirtation and gets a serious case of envious crankass. He’s suddenly “Stern Papa” again and tells Hailey, “this isn’t Acapulco,” before leaving abruptly. But then his whole perspective shifts too when he soon finds a group of musicians playing and dancing in a park. They throw Rodrigo a tambourine and he’s completely at home, grooving and jangling with his joyful mojo back one hundred percent thanks to the music. He takes home a gorgeous little vixen from the group and the episode closes on her screams of delight in his bed before the camera pans out to the sultry city lights below. It’s our last little shift of perspective in an episode packed with plenty of refreshing new ways to see Mozart in the Jungle characters at work and play.

–Katherine Recap

[For Mozart in the Jungle “Stern Papa” or any other recaps on Fetchland, assume the presence of possible spoilers.]

Amazon.com Summary:
Stern Papa. Rodrigo has doubts despite his success; Hailey seeks her replacement so she can focus on her substitute oboe position; Cynthia meets the orchestra’s new lawyer.

Here’s a brief Mozart in the Jungle refresher for those hazy on season one:

The show was created by Roman Coppola, Jason Schwartzman, and Alex Timbers after they got the idea from an oboist’s memoir of the same title with the titillating subtitle: Sex, Drugs, and Classical Music. The show doesn’t disappoint on any of these three counts. It’s a wonderland of artistry as well, which puts Mozart in the Jungle in a class all its own these days. It’s the story of an orchestra and their magnetic and eccentric conductor, Rodrigo, told through the perspective of a newbie oboist who gets her feet wet as Rodrigo’s assistant. With the fireworks of talent shooting out of every casting decision, this is a tough show to pass over once you’ve seen who’s in it.

Gael Garcia Bernal plays Rodrigo De Souza, a charismatic conductor and whirlwind of musical genius who invigorates the jaded orchestra he joins in New York City. Rodrigo’s a true iconoclast who sucks the marrow out of every living minute.

Lola Kirke plays Hailey, a talented young oboist who spends season one getting her bearings. After Rodrigo hears her play he declares she must be part of the orchestra because she “plays with the blood!” and thus she becomes his assistant. Though she has a boyfriend, Hailey’s heart belongs to Rodrigo… and they did kiss at the end of season one.

Bernadette Peters is a glorious vision in curls playing Gloria, the head of the orchestral board of directors in season one. We didn’t see enough of her last season but Gloria shines bright in season two.

Malcolm Macdowell‘s Thomas Pembridge, the former maestro of the orchestra before Rodrigo came along, is one of those characters that always says and does the most ridiculous things yet remains eminently believable.

Saffron Burrows plays the cellist Cynthia. Blindingly beautiful and talented, Cynthia gets caught up in forbidden sexual dalliances because it would be a crime to keep that stunning body clothed throughout even one season.

Episode one of season two, “Stern Papa” dances around the parenting theme in multiple arrangements. One of the least obvious examples is the first scene where we find Rodrigo in Los Angeles where he’s guest conducting the Philharmonic. He’s talking to his usual muse, the ghost of Mozart, and we soon see the conversation devolve into Rodrigo battling against that nasty doubting (often of parental origin) voice in every artist’s head that sometimes says maybe we’re just a fraud, or perhaps we’re just terrible, etc. So, of course spicy chili pepper Rodrigo will have none of this and shouts a storm at Mozart, scaring him away only to then immediately want Wolfgang back. And thus begins an episode packed with child/parent dynamics.

When he returns to New York and his home orchestra, Rodrigo finds his musicians playing softball, a game their previous maestro forbade them to play for fear it may impact their playing from injuries or even just the time suck. So, they’re a bit nervous when they see him coming on their playfield. But then he’s just their buddy their pal, mr cool kid Rodrigo so instead of forbidding their game he joins as pitcher and they play together. Hey guys, it’s fun daddy! Everybody loves fun daddy – right? In fact, they love him so much that at their first rehearsal they open with Take Me Out to the Ballgame. He’d instructed them to play Shubert but what’s a little joke among buddies who love each other – right? But the real love for Rodrigo emanates from Hailey, who can’t seem to stop her adoring Rodrigo gaze even as she admonishes him for bad behavior.

Speaking of which, Hailey chides Rodrigo when he quickly dismisses the replacement Gloria chose to become Rodrigo’s new assistant, Sarabelle Westmore. Rodrigo spends only seconds with her before finding her habit of stating everything in question form intolerable. In his defense, Sarabelle’s totally annoying and she arrives when he’s already at his limit. Gloria works his every nerve to get him to convince the orchestra to take the board’s new contract offering. Rodrigo doesn’t deal with red tape. He just wants to talk music and make the orchestra better – that’s all he cares about. Meanwhile Hailey just wants to find a replacement assistant so she can focus on the oboe… and possibly get into Rodrigo’s pants.

Which Cynthia reprimands Hailey for, setting up yet another “tsk tsk” parent/child dynamic, when she tells her that, “Triangle Tina saw Rodrigo kissing you at last season’s finale performance,” then warns her to focus on the oboe. She promises to tell Triangle Tina to shut her yap as long as Hailey keeps focusing on her own instrument rather than Rodridgo’s. Then in the very next scene we’re introduced to Cynthia’s season two love interest: The orchestra’s new lawyer, Nina, played by Gretchen Mol. Nina clearly has the hots for Cynthia from the get go. The symphony hired Nina because they think they’re getting a rotten deal and heard she’s a real shark. And when she zips into the story on her motorcycle with a fitted suit and instant Cynthia flirtation, we believe the “shark” comment. Nina quickly warms to all the players including Betty, the orchestra’s longest running member, consistently clad in Eileen Fisher and matching smug expression. She’s also the first chair oboe – which directly affects Hailey’s potential for advancement in the orchestra.

Rodrigo maintains a resonant concern throughout the first episode of season two. He ruminates about their imminent trip to Mexico when the orchestra will play for his mentor, Maestro Rivera. Because the symphony “stinks” Rodrigo fears embarrassment in front of his primary father figure. Meanwhile the douche board member, Biben, has it out for Rodrigo and wants to reinstate Pembridge as conductor. But Pembridge considers himself a composer now and won’t even consider the possibility. However, when Rodrigo asks Pembridge what he thought of the symphony’s welcome back performance he’s bursting with advice. This is where the episode gets its title “Stern Papa” as Pembridge suggests the orchestra lacks cohesion due to Rodrigo not being parental enough. He needs to be “Stern Papa,” like all the great conductors before, such as Pembridge himself. Then he asks for Rodrigo to take a look at the symphony he’s composing and says, “not to toot my own horn but I think it’s absolutely fucking brilliant,” and who can say no to that?

After leaving Pembridge’s pad, Rodrigo bikes to Hailey’s place at three in the morning and asks her what the orchestra thinks of him. She says they think he’s crazy but believe in him… and sometimes they think they love him. Then Hailey asks if he sometimes thinks he loves the orchestra and he says “not sometimes, all the time”. But he’s the conductor, he explains, and thus has to maintain some distance. It’s the classic parental push and pull between love and setting limits. Of course, they’re not just talking about the symphony but also each other. Then Rodrigo tells her he has to get to work and get this terrible orchestra on track while she has to find a replacement for herself so she can focus on practicing oboe. “The falconeer and the falcon must both take wing!” Rodrigo declares as he bikes away. Leaving Hailey on her stoop to wonder aloud if she’s the falcon – not yet realizing that if they both take flight it really doesn’t matter which is which. They soar together.

–Katherine Recap