Why Women Kill Season 2 Episode 3 Review: Lady In the Lake


Killing someone is easy; covering up their death is not.

Alma and Bertram had their work cut out for them on Why Women Kill Season 2 Episode 3.

They share two dark secrets now, but that doesn’t mean they’re getting any closer in the process.

While I miss Jack Davenport on screen, his narration at the beginning of each episode sets the tone for the entire production.

It’s quickly becoming my favorite part of the second season. While I don’t need the explanation of what’s to come, it’s fun hearing it and then watching events unfold supporting the opening.

Alma tried being friends with 20 years, rebuffed at every turn. It’s hard to imagine living next door to someone that long and never entering their house, especially in 1949 when being neighborly was a way of life.

Alma was torn between being eager to get rid of Mrs. Yost after her death and ensuring the old woman some comfort in her final resting place. But when Bertram revealed that even her prized garden didn’t earn Mrs. Yost’s praise, putting her in the dirt was a lot easier.

That’s a body that was never meant to stay buried, though. Before the episode was over, Mrs. Yost was already threatening Alma and Bertram’s carefully laid plans to say goodbye to their worthless neighbor.

Alma’s ache to be more than she is was painfully obvious when she assumed the role of Mrs. Yost on her and Bertram’s first crime spree.

Miraculously, she fits beautifully into Mrs. Yost’s clothing. She probably would have fit beautifully into Mrs. Yost’s life in general if Alma took the time to realize that Mrs. Yost was a miserable woman with nothing but creature comforts.

Alma hadsa loving (if murderous) husband and a lovely daughter, as well as her love for her garden, something she proudly showed off to the world, caring only that she presents what she loves to the best of her ability.

Mrs. Yost, meanwhile, had a home of beautiful things and clothes but nobody to share them with. She never left the house nor let anyone else inside to see what a marvelous home she kept.

While the grass isn’t greener in this case, the house is nicer, and Alma yearns to transform her life into something much more like Mrs. Yost’s and less like her own.

Playing the part was thrilling on many levels, and when she looked her best, Alma ran into the man who broke her heart and sent her into Bertram’s arms.

It’s easy to see why Alma was smitten with Tom Madison. He seems like a good fellow who sees the same in others.

His seeming rejection, though, shaped how Alma felt about herself, and it’s hard not to wonder if she hadn’t seen Tom dancing with another if she could have accepted that being good inside is vastly superior to an outward look like she admires in Rita and the garden club ladies.

Seeing Tom flustered Alma just enough that ditching Mrs. Yost’s car became a bit more problematic than they expected.

They got sloppy, nearly losing her purse forever inside of Mrs. Yost’s car at the bottom of a small lake. Something tells me that more errors likely occurred that will create a trail right back to Alma and Bertram.

If Alma were thinking clearly, she’d realize that being like Mrs. Yost isn’t her ideal. But she has no idea how unhappy her idol, Rita, really is, and things are not moving in Rita’s favor.

Catherine is here to stay, and Rita took a different tact in her quest to keep living high and allowing her affair to flourish. She tried to connect with Catherine. It didn’t work.

This is a show about weirdly routed female empowerment, so it seemed like a good idea. Carlo is not a good man. He’s not a good husband, and he’s not a good father. If two opposing women were ever going to meet in the middle, it would be over their disgust for the common man in their lives.

When Catherine interrupted the garden club meeting, Rita realized how much power the interloper has in her life. She quite simply cannot allow it to continue. Clawing her way up and off the streets with Carlo’s backing, she wasted precious years with him. Years she cannot get back.

All she has to show for her time on the planet is what she amassed after recreating herself to fit into Carlo’s world and on his arm. It’s a house of cards that could come crumbling down at any moment.

Rita didn’t know that Catherine equated her with what Carlo took away from her — a relationship he wouldn’t back in fear that her fellow was a fortune hunter.

He turned around and did the same thing by marrying Rita galls her, which keeps her from ever connecting with Rita, despite their similarities with Carlo.

But Rita doesn’t want or need anything as much as she needs her status and wealth, including Scooter. And when she discovers that Scooter has been having sex with a “fat thing” like Dee, using him to achieve results works just fine.

Scooter, bless his good-looking but idiotic heart, doesn’t find the idea of screwing Catherine appealing in the slightest, and he’s hurt even to be asked.

But as the curtain goes down on his two-timing with Rita and Dee, it’s unlikely he’ll have any choice in the matter. And, if he’s at all conniving, he might see Catherine as another avenue to get what he wants, whether Rita stays in his life or not.

Dee is so lucky to have befriended Vern, who acts as Why Women Kill’s voice of reason. Vern isn’t a softie by any means, but as a man who has suffered, he puts everyone on an even plane.

Dee was still high on Scooter when she bought breakfast for Vern, but Vern couldn’t understand it. He sees Scooter’s phone call and roses as a quick and easy way to smooth her ruffled feathers. Of course, we know he’s correct.

Vern inspires in Dee the idea that she should test Scooter. If he’s really into her, like he says, then he shouldn’t have a problem going to dinner with her somewhere off the beaten path.

It doesn’t work out like that because Scooter has excuses. The reality is that Scooter likes Dee, but he doesn’t like what she represents, and being seen in public with her isn’t what he wants.

Sure, he squeezes her hand at the diner, which is technically public, but since she’s at work, keeping that secret works for Dee as much as Scooter.

Taking advantage of Vern’s services throws them together and advances their friendship just as the door closes on what Dee has with Scooter. Not a moment too soon if you ask me.

Seeing Dee and Rita interact was a treat, and seeing Dee come out on top of that interaction was satisfying on many levels.

Dee was surprised that Scooter’s lady was so beautiful, but she wasn’t nearly as surprised at that discovery as Rita was that Scooter really was into that “fat thing.” She’s so ugly on the inside, and realizing that someone sees the beauty inside, even if only in private, has to sting someone like Rita.

Vern: How you doin’? You OK?
Dee: Funny enough, yeah. I’ve put up with so much. My whole life, other girls got toast, and I got crumbs. I wanted more, but mom made me think that girls who aren’t pretty should be thankful for whatever we can get, and I believed her. Then tonight, I finally said no. I deserve more. And I felt good.
Vern: What you did? It took guts. I’m proud of you.

Dee used the experience to confide in Vern, explaining how her mother made her feel all her life that scraps were all she’d get without outward beauty.

Generations of women have experienced the same thing, but the happiest women on the planet know their value comes from within.

Dee took a chance, asking Vern inside for a drink, but he turned her down. She wasn’t phased, though, and when she put on music and danced, it proved that she’d gained plenty by facing what she had with Scooter and how she let herself be played.

Vern, too, has secrets and a sense of inferiority. He seems very confident, but when he arrived home, he revealed a mangled leg. If Dee just discovered her inner strength, maybe she can share some of it with Vern, and they’ll find a way to spend time together.

Why Women Kill Season 2 is moving along swiftly. It’s got a valuable emotional component and biting humor, keeping it light and entertaining.

If you’re enjoying the season, and even if you’re not, drop down below and let me know what you think!

Carissa Pavlica is the managing editor and a staff writer and critic for TV Fanatic. She’s a member of the Critic’s Choice Association, enjoys mentoring writers, conversing with cats, and passionately discussing the nuances of television and film with anyone who will listen. Follow her on Twitter and email her here at TV Fanatic.

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