Unresolved romances and a long-simmering film project finally bear fruit in the fifth season of THE L WORD®, returning January 2008 to SHOWTIME. Dreams come true and new life paths are forged for many of the show’s beloved characters this year – but not without the The L Word‘s trademark provocative storylines, sizzling sexuality, and heart-rending emotion. The series stars Jennifer Beals, Leisha Hailey, Laurel Holloman, Mia Kirshner, Katherine Moennig, Daniela Sea, Rachel Shelley and Pam Grier. Season five’s new guest stars include Kelly McGillis and Wallace Shawn, alongside returning special guest stars Cybill Shepherd, Marlee Matlin, Kristanna Loken, Jane Lynch and, returning to a role that earned the program acclaim and controversy, Rose Rollins as Tasha, an Iraq War veteran concealing her sexuality from the military.

Season five’s major plot developments include a “Don’t Ask, Don’t Tell” investigation of Tasha Williams (Rose Rollins), a closeted soldier whose moving romance last season with the out-and-proud Alice Pieszecki (Leisha Hailey) earned the show an award from the Servicemembers Legal Defense Network.

Series creator and executive producer Ilene Chaiken is proud of the attention her series is bringing to the lingering but still-unresolved issue of gay military service. “I hope Tasha’s story will shed light on the military’s untenable policy of institutionalized discrimination again gay men and lesbians who sacrifice to serve their county,” Chaiken says. “Tasha’s experience with ‘Don’t Ask Don’t Tell’ only skims the surface of the battles gay servicemembers face every day. We’re grateful to have had the opportunity to tell her story and hope that it sparks consensus, rather than controversy, on the need for policy reform.”

Debuting as the tough veteran Colonel Gillian Davis, who is charged with prosecuting Tasha’s case, is Kelly McGillis, star of such blockbuster motion pictures as Witness and Top Gun. McGillis brings grit and panache to a role that, like so many in The L Word, is less one-dimensional than it might be first assumed.

McGillis isn’t the only exciting fifth season guest star. Chaiken reveals that, “In addition to Jane Lynch and Holland Taylor, we’re delighted by the return of Cybill Shepherd and her real-life daughter, Clementine Ford, to play the mother-daughter duo of Phyllis and Molly Kroll.” Molly, who insists that she is straight (in contrast to her recently out mother) proves an unexpectedly stalwart foil to legendary heart breaker Shane (Katherine Moennig). Chaiken hints, “As for Shane…let’s just say she’s back and better than ever, but also more self-aware and prepared to deal with the girl drama she invites.

“Also new to season five is the incredible Wallace Shawn as the wily financier of Jenny’s movie,” reveals Chaiken. When Jenny’s undaunted persistence resurrects her autobiographical movie project ‘Lez Girls’ with money from a hedge-fund billionaire (Shawn), the polarizing writer soon finds herself behind the camera directing the film, as well as wooing the hot new “It Girl” actress Nikki (Kate French) to star. “The production of ‘Lez Girls’ is bringing a wealth of new talent to The L Word,” says Chaiken, who also cites guest stars Malaya Rivera Drew, who plays Jenny’s disturbingly devoted assistant Adele, and Patricia Velasquez as Begonia, a self-possessed actress appearing in Jenny’s film. “We are having an absolute blast with Jenny this year as she takes on Hollywood with her movie and its ‘fictional’ account of the friends’ lives,” Chaiken laughs.

Another significant story line for season five is the arrival of Dawn Denbo (Elizabeth Keener) and her lover Cindi (Alicia Leigh Willis), a pair of Florida party-girl emigres who open a new establishment to rival longtime hangout The Planet, setting into motion a rivalry with The Planet’s owner Kit (Pam Grier) that starts benignly but quickly turns bitter.

Then there are Bette and Tina, the former couple whose on-again, off-again romance remains, for many fans, the heart of The L Word. Despite Bette’s continued serious involvement with artist and professor Jodi Lerner (Marlee Matlin), her feelings for Tina seem to be gradually simmering into “on-again” mode, and the feeling could be mutual. The characters’ tortured passion will have viewers taking sides and glued to the screen.

When discussing the rollercoaster ride that is Bette and Tina, the executive producer chooses her words carefully. “I am certainly moved by how much the story of Bette and Tina resonates with viewers,” Chaiken asserts. “I won’t confirm or deny anything just yet but will say that everyone behind the show approached season five with a completely open mind. My personal hope is for Bette and Tina to find happiness, whether as friends and co-parents, or as a couple. We’ve seen them play both of those roles over the past four seasons and I believe they’re ready for resolution. But you’ll have to watch to find out which path they chose.”

Chaiken has a few more twists and turns planned for the new season, but says that the return of The L Word‘s characters to the extended family vibe of the early years is the theme that really shapes the new episodes. “Some of our favorite scenes to write and shoot at The L Word have always been the big group scenes – those gatherings at The Planet, or get-togethers at Shane and Jenny’s or one of our famous dinner parties,” she relates. “If anything defines season five it’s a return to the magical friendship among our ladies and the humor it brings to their lives and our stories. At the same time, our characters are growing up and their core relationships to each other and as a group are shifting. In season five, I wouldn’t be surprised to see friendships take unexpected, dangerous, heartbreaking…or even romantic detours.”

The L Word is one of Showtime’s most popular series, generating a large and loyal audience, as well as critical praise for its provocative, sexy storylines, the engaging and nuanced performances of its principal cast, and its appeal to celebrated directors and guest stars. Premiering Sundays at 9 p.m. PT/ET with several multi-plays during the week and available on the ever-growing Showtime On Demand, the groundbreaking series follows a group of Los Angeles-based friends as they navigate careers, families, friendships, inner struggles and romantic entanglements. Since its debut in January 2004, The L Word has become part of American popular culture, spawning dedicated fan websites and blogs, and even branded products such as perfume, jewelry and books.

Ilene Chaiken executive produces The L Word through her production company Little Chicken Inc. The series was created by Chaiken and Kathy Greenberg & Michele Abbott, and is distributed internationally by MGM International Television Distribution, Inc.

EPISODE SYNOPSES

The L Word 501: “LGB TEASE”

Logline: The fifth season opens with Shane derailing plans to move in with Paige, then suffering the consequences, while Jenny returns from a Mexican vacation with a billionaire movie financier in tow, and Phyllis has sudden doubts about the exclusivity of her romance with Joyce.

Synopsis: As the fifth season opens, Helena’s adjustment to prison life is not exactly a smooth one, while Bette and Tina sweat their way through the rigorous preschool admissions process for Angelica; a lonely Tina ponders the rigors of seeking a new relationship.

Not long after extolling the virtues of Joyce during Alice’s podcast, Phyllis begins to have doubts about their relationship and wonders if she should explore other sexual and romantic options, even as Joyce plans a festive “coming out” party for her at The Planet.

Classically unable to avoid temptation, Shane hooks up with a sexy real estate agent, but is discovered in the act by Paige, who furiously puts an end to their relationship. But Shane hasn’t heard the last of the scorned and humiliated single mom.

Jenny returns from Mexico with a much-abused assistant in tow and a creative bombshell: she is involved with the Greek hedge fund billionaire who is financing Tina’s movie company, a development that puts Jenny’s script “Lez Girls” back on the fast-track for production – with Jenny attached to direct. The only person happy to see Jenny back home, in the meantime, is Shane.

Her friends try to find a new lover for Tina, but her heart’s just not in the dating game, and Shane’s attempt to fly “wingman” for her at Phyllis’s coming-out party works out as badly as anyone would have predicted. A spark between her and Bette blows out when Jodi returns home and resumes trying to break Bette of her type-A tendencies.

Two new entrepreneurs from Miami open “Shebar,” a rival lesbian nighclub near The Planet, causing Kit to be concerned about the future of her business – a worry that Shane no longer has when WAX goes up in flames, the result of arson.

Instead of being deployed to Iraq as expected, Tasha shows up Alice’s apartment for a charged reunion – but what is she doing home when her unit is on its way to the Middle East?

The L Word 502: “LOOK OUT, HERE THEY COME!”

Logline: Tina’s obvious, lingering affection for Bette affects her dating prospects; Shane’s last-minute gig styling hair at a wedding results in a comic series of erotic encounters; Tasha reveals her reason for not shipping out to Iraq: she’s being investigated for “homosexual conduct.”

Synopsis: Shane accepts a last-minute gig as a wedding hair stylist for the wealthy family of Jenny and Tina’s producer William Halsey, and finds herself literally up to her ears in illicit sex with the bridesmaids – and even the mother of the bride. But she’s soon dodging the clingiest of her lovers, advising the distraught, reluctant bride to go through with the ceremony, and fleeing for her life when her paramours figure out that she’s been double and triple-timing them.

Meanwhile, Shane’s friend speculate about the burning of WAX, which everyone attributes to Paige. And an attempt at a love connection ends in disappointment for Tina, who can’t manage to disguise her lingering attraction to and love for Bette. When Bette shows up at The Planet with Jodi, her appearance puts an end to Tina’s increasingly awkward first (and last) date.

Tasha’s solicitation of legal advice from a colleague on base reveals the truth about why she wasn’t deployed to Iraq – she’s being investigated by the military for suspected homosexual conduct. And it’s quickly clear that even old friends won’t be willing to defend her. Alice struggles to accept Tasha’s desire to remain in the service and lie about her true nature.

Adele, an eccentric new hipster patron of The Planet and a recent émigré from Florida, turns out to be Jenny’s number one literary fan and quickly lands herself the job of the writer’s new, disturbingly devoted assistant.

Determined to date other people and not make the same mistakes she did during her long and unhappy marriage, Phyllis breaks up with Joyce, who doesn’t take the news well.

When she is viciously attacked by a gang in the prison shower, Helena is rescued by her hulking, reticent cell mate Dusty, and the two are soon bonding over vintage movie stars – as well as Dusty’s muscular physique.

The L Word 503: “LADY OF THE LAKE”

Logline: Shane swears off sex and reaps the health benefits with new energy and focus; Tina’s dating woes finally improve; Max ponders a mutual same-sex attraction to Jodi’s interpreter; The Planet is burglarized and Kit attacked after hours.

Synopsis: Her friends are skeptical when, in the wake of her recent drama at a wedding reception, Shane swears off sex and embraces a healthier lifestyle of exercise and meditation. Her new drive and mental agility are hard to deny, however.

Max ponders a same-sex attraction to Jodi’s cute, gay interpreter Tom, who is clearly smitten. At first resistant, Max’s resolve begins to crumble under Tom’s affectionate attention.

Jodi’s annual lakeside retreat with a group of close lifelong friends is a disaster thanks to an uptight and very boundary-conscious Bette, who gets a reprieve of sorts when Kit is robbed by thieves at The Planet – which is temporarily closed due to the incident.

Helena’s mother finally turns up to bail her daughter out of jail, but the inmate’s got a surprise for everyone: she wants to stay with her new cellmate and lover Dusty. When she’s forcibly bailed out, Helena schemes to recover the millions she stole, spring Dusty out of jail, and disappear for good.

Tasha clashes with her longtime friend and colleague Beech, who is now assigned against his will to defend her against the military’s claim of homosexual behavior. Despite the truth of the allegation, a distraught Tasha is determined to fight the case despite being forced to lie and preserve her cherished career.

After surfing the net for a date, Tina hooks up with a gorgeous, surgically enhanced doctor whose unexpected interest in art collecting soon has them bonding and more.

The L Word 504: “LET’S GET THIS PARTY STARTED”

Logline: Bette’s jealousy over Tina’s new girlfriend is the probable cause of a surprising moment; Jenny is courted for the lead in her movie by the latest Bond girl; the gang attends the opening of a new lesbian club competing with The Planet.

Synopsis: While enrolled in a self-defense class with Kit, the gang discusses plans to attend the opening of SheBar, a rival new lesbian club competing with The Planet, which is still temporarily closed. Bette hears for the first time that Tina is dating Brenda, an attractive heart surgeon.

Alice receives a menacing visit from a pair of condescending military investigators who bully their way into her apartment, searching for signs of her relationship with Tasha. Alice is left shaken and enraged, inspiring Tasha to confront her lackluster legal defender Beech, whose reluctance to get more involved than necessary begins to diminish.

Bette handles a complaint from a student who claims to have been traumatized by a work of violent performance art in Jodi’s classroom, but Jodi dismisses the charge as overwrought. Meanwhile, she and Bette’s romantic relationship is still strained in the wake of their truncated weekend getaway to the lake.

Disappointed to be turned down for the lead in “Lez Girls” by an A-list actress, Jenny nevertheless resists the studio’s pressure to cast a talented unknown, upcoming “Bond girl” Niki Stevens – but she reconsiders when Niki seeks out Jenny at SheBar and reveals a little-known personal secret.

While a self-protection-minded Kit shops for a gun, Alice and Tasha attend a top-secret party thrown by Hollywood power player Barry Burd, whose hush-hush gatherings are safe havens for those in the closet to let their hair down.

After days without sexual gratification, Shane begins to show signs of mental, physical and emotional distress – but an encounter with the debutante party-girl owners of SheBar may provide the relief she needs.

Meanwhile, in a secluded side-room at SheBar, former couple Bette and Tina share an illicit kiss…

The L Word 505: “LOOKIN’ AT YOU, KID”

Logline: Jenny throws a bash to introduce her friends to the actresses playing them in “Lez Girls,” provoking both delight and distress; Bette and Tina try to deal with what is obviously a rekindled spark; Alice angrily outs a secretly gay sports star after he utters a homophobic slur, sparking a media firestorm.

Synopsis: Jenny rehearses her cast for “Lez Girls” and throws a wild bash to introduce her cast to their real-life counterparts, which results in delight for some (Shane – who is amused when the actress portraying her insists she’s only “gay for pay”), consternation for others (Bette – who is disgusted that the actress playing her is not black) and bittersweet melancholy for one (Alice – who is shocked at the resemblance to Dana of the actress playing her late lover).

When a celebrity athlete uses a nasty homophobic slur in an ugly, publicly anti-gay statement, Alice uses evidence of his secret gay life to “out” him on her web site. When her post goes viral and results in a media firestorm, Alice is suddenly thrust into the spotlight as a gay rights advocate – but the attention and Alice’s militant stance are too much for Tasha, who is still trying to fly under the military’s radar. The incident causes the couple to break up.

The fallout over the violent performance art in Jodi’s class worsens, with the Board of Trustees and Phyllis now dragged into the situation. Torn between trying to protect her lover/employee from herself, and recognizing her urge to intervene may be a result of type-A control issues, Bette needs advice and finds that Tina is the only one to whom she can turn.

The party-girl owners of SheBar continue to rip off all of Kit’s innovative business ideas, including serving breakfast and a drive-through window – but their mutual attraction to Shane, who unsuccessfully attempts to remain neutral, threatens to derail a business partnership that is thus far proving quite lucrative.

Though the rest of the gang dismisses his suspicions, Max grows increasingly wary of Jenny’s overly attentive new assistant Adele, and manages to prove that some of Adele’s self-professed backstory is a blatant lie. Adele covers the discrepancy smoothly, and no one else seems to care – Tina even asks her to keep an eye on Jenny and secretly alert her to any developments about which the studio would be concerned.

Phyllis is stunned when Joyce uses their break-up as leverage in winning back her divorce case.

When Jenny and her star/protégé Niki hook up in a closet during the party, their love making is witnessed by none other than Adele, who takes a disturbing interest in the scene.

The L Word 506: “LIGHTS! CAMERA! ACTION!”

Logline: The production of “Lez Girls” finally begins and director Jenny deals with all the usual headaches of filmmaking – including a recalcitrant star and lover, Niki; Bette and Tina struggle with their rekindled feelings; the owners of SheBar take their war against the gang to the next level.

Synopsis: Production finally gets underway on “Lez Girls,” but Jenny struggles with location issues, an emotionally needy star, and a cast made up of several straight actresses experiencing great difficulty feigning erotic passion on camera with their female partners.

Working on the film as its hair designer, Shane is only to happen to lend a creative hand by demonstrating the proper techniques for a public display of lesbian sensuality with a willing and attractive actress.

Unable to control or suppress their desires any longer, Bette and Tina end up in each other’s arms – only to suffer the guilt of infidelity when they realize how seriously Bette is betraying Jodi.

The latter doesn’t make things easier when she nobly offers to resign from her professorship in order to take political heat off Bette in the wake of a student’s controversial “feigned suicide” performance art. Phyllis is willing to accept Jodi’s decision but Bette refuses to consider the possibility.

A wild house party is a raucous good time for Phyllis until her daughter arrives at an inopportune moment and witnesses her mother’s uninhibited behavior, driving a wedge between them even as Phyllis’s high-profile divorce from Leonard is still looming.

Shane receives a double-dose of the conniving, greedy, and slightly deranged scheming of SheBar owners Cindy and Dawn – so she’s the first to suspect foul play when rats are discovered at The Planet and the restaurant is immediately shut down by the health department. A furious Kit knows it’s time for the gloves to come off.

On the set of “Lez Girls,” Adele’s low-key but unsettling obsession with Jenny becomes more obvious when she mimics her idol’s haircut (with a little help from Shane). Nevertheless, Adele saves the day when she spins the revelation of Jenny and Niki’s sexual relationship in a positive direction.

Technorati Tags: The L Word, Lez Girls, Shane, Bette and Tina, Lesbians, Drama, Showtime, Fifth Season, Synopsis

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