The Comeback: “Valerie Cooks In The Desert”

“Women in this business are not allowed to cry.” This line from Gigi (Bayne Gibby), the former Room And Bored writer that Valerie runs into at the grocery store this week, resonates throughout “Valerie Cooks In The Desert.” No matter how much suffering Valerie endures because of Seeing Red, she can’t ever show that she’s displeased or hurt by her treatment. She just has to deal with it because she’s lucky to have this break in the first place, and during the time she has this break, it will always take precedence over everything else in her life. Valerie’s marriage is in a tailspin and she knows it, but she has a commitment to Seeing Red that is just more important right now, and she can’t risk jeopardizing the biggest opportunity of her lifetime.
Continuing the trend of Valerie getting regularly humiliated on the set of Seeing Red, this week she is brought to the desert, tied up, and thrown in a car trunk with tape over her mouth. She’s forced to repeat this scene over and over again due to technical issues, and it worsens to the point where she’s not just bound in a trunk, but bound in a trunk with live snakes. The Comeback has never been a show that cared much for subtlety, and this episode is especially direct in terms of symbolism and commentary. Valerie’s predicament in the car trunk represents her experience on Seeing Red, a situation that started bad and has only gotten worse, but nothing is bad enough that it could force her to step away from the project.
While Paulie G. is getting private massages in his tent instead of writing pages, Valerie is panicking about her marriage. She had to cancel dinner plans at Nobu because of the surprise Saturday reshoots—although it’s very possible Valerie was informed beforehand but didn’t remember because, as she said last week, she rarely has any idea where they actually are in the shooting schedule—and needs to be done filming by 5 P.M. if she’s going to make it to dinner with Mark. After all of the recent stress she’s put on their marriage, she knows how important it is to keep this dinner date, but her marriage is at the bottom of the list of priorities for the Seeing Red crew. They expect her on set when they want her, even if they don’t have the script pages, and they don’t give a shit if she’s in the middle of preparing beef rollantini for a dinner date with her husband.
As a middle-aged woman in Hollywood that isn’t a huge star, Valerie has very limited options: She can be compliant and suffer whatever indignities are thrown her way. She can cry and show that she’s not capable of handling the pressure of this business, even though crying as a reaction doesn’t necessarily mean that at all. Or she can get angry, stand up for herself, and be labeled a bitch (or worse) by the people she works with, a stance she took on Room And Bored that led to her playing the “self-destructive and mean” Mallory Church. She goes with the last option when she’s called to set in the middle of her meal prep, lashing out at Ron and Shayna because she’s tired of having her time wasted.
The problem is that any display of strength for Valerie has an attached display of weakness. To others, she’s not standing up for herself and her needs; she’s throwing a tantrum. Valerie needs to know that she’s being heard, and while the crew hears her, they’re not listening. She can scream as much as she wants, but ultimately she’s being a difficult actor that is getting in the way of their filming, and the only response she deserves is a middle finger from Ron as he rolls away. Would a male star be treated the same way? We don’t know because Valerie is the only actor we see this week; Seth Rogen isn’t having his time wasted with reshoots. Sure, the fact that the process has been so easy for Seth can be attributed to his status as a blockbuster movie star (and that he was only signed on for two episodes of The Comeback), but it’s not hard to draw conclusions based on gender regarding the discrepancies in the treatment of the two actors.
Valerie does eventually cry this week. She can be hurt, but the hurt that makes her cry isn’t the fault of anyone else. It’s pain that she brings upon herself, and that realization is what springs the tears. When she shows up at Mark’s dark rental home at 11:30 P.M., she leaves him the dish of beef rollantini and a note that is heartbreaking in its simplicity:
Marky Mark,
I was late.
Hopefully not too late.