A pair of twenty-somethings heading to the club make Issa and Molly recall their younger, more carefree selves, before they leave Issa a 5-star rating, no tip, and a review saying she reminds them of their auntie.

When Issa and Molly pick up an attractive man (“Nathan with the face!” says Molly) on his way to dinner, they flirt and reroute him to get tacos together instead. It seems like a solid plan until they pick up a voluminous second passenger, who squeezes his way into the back of the car. When Issa asks him to extinguish a blunt and he refuses, Nathan-with-the-face launches himself onto the guy. The two proceed to pound on one another in the backseat, while Issa screams and swerves.

The scenes in Issa’s Lyft don’t do much to move the plot along, but that’s precisely what makes them feel compelling, different, and real. They also give us a chance to experience Los Angeles (which increasingly feels like a character unto itself in the show) as Angelenos constantly do, from the confines of a car.

As the show matures in its third season, and its characters and their problems grow more complex, the Lyft conceit was a clever way to give them some breathing room, and to embrace the liminal, in-between spaces.

This story has been updated. An earlier version included a quote from Issa Rae’s character in which she used an offensive word.

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