Read Part 1 and Part 2 here

Every season, the L Word gives us some completely unforgettable moments. Some of these scenes and dialogues are so strong, they have even made their way into lesbian lingo and culture. Who can forget one-liners like Tina’s “Did you f*** all night before you told her I was the love of your life?”, or “We are not faggots, we are dykes, you a******e” by Jenny? Or the scenes that are simply too emotional to put into words, like Bette and Tina having angry violent sex after discovering Bette’s infidelity. Whatever that caught your fancy this season, this is my personal best of the season: the scenes and lines that makes the agony worth it.

Top 10 scenes

1. Bette, Alice and Shane stealing the '17 Reasons Why' sign [episode 12]

2. Phone-tree drama [episode 6]

3. Shane and Alice vandalising Shane's Hugo Boss ad [episode 9]

4. Argument/mediation scene between Bette and Tina, as Joyce convinces them to settle it amicably. [episode 1]

5. Angus at Tina's straight-and-gay mixed party talking about 'BoyButter' [episode 3]

6. Signed argument between Jodi and Amy [episode 10]

7. Alice's monologue in the sex scene between her and Phyllis [episode 4]

8. Jenny freaking out at Curve magazine receptionist [episode 2]

9. Basketball game [episode 4]

10. “Intervention” by all the friends when Bette runs off with baby [episode 1]

Best line from each episode

Episode 1: Helena to Alice- I can't even buy a pair of shoes with 3500 dollars!

Episode 2: Jenny to Curve receptionist- Do you know what merkin means? Vagina-wig

Episode 3: Papi to Shane- You're just a skinny little white girl.

Episode 4: Papi to Alice - What are you going to call yourself, the bourgeoisie girls?

Episode 5: Jenny to Alice- Would you kiss me? Please kiss me! I beg you. I'll buy you starbucks for a week.

Episode 6: Bette- Some lesbians, you need to break up with them more than once

Episode 7: Kit – “I once gave a blowjob to a home-player. For a line of cocaine!” Helena – “Afterwards, how did you feel?” Kit – “High. I was a high whore.”

Episode 8: Tasha to Alice- The question is, why the hell am I here? Alice- Because we want to fuck each other!

Episode 9: Leonard to Phyllis- What are they doing that is more important than helping me understand why my life is suddenly falling apart?

Episode 10: Amy to Jodi [about Bette]- Does she whisper sweet nothings in your ear? Make you feel like a part of her world?

Episode 11: Kit to Angus- You should have thought of that before you had the nanny's lips wrapped around your dick.

Episode 12: Alice to Bette- I’m stuck! I’m stuck! Go without me! Leave me behind! Save yourselves!

Read Part 1 here.

As usual on the L Word, characters undergo personality transplants at the beginning of each season. Helena became the nicest person in the world in Season 3 after being a bitch in Season 2. Possibly calling on the same hypnotist that Helena did, Max suddenly became a righteous, gentle dude who started standing up for women's rights, a complete turnaround from The Hulk he was in Season 3. He even became likeable, after he stopped saying, 'You don't understand!'.

Of course, when someone becomes nice, someone has to be a bitch. And this season, Jenny got the short straw. If viewers grudgingly started liking season 3 Jenny, shocking us all with her display of backbone and feminist observations, they would be quick to return to their fast-forward-when-Jenny-comes-on-screen ways in Season 4. While we've always known Jenny is crazy, to say the least, her new malicious, arrogant, self-absorbed Paris-Hilton-like behaviour [complete with an adorable dog] would be quick to turn off even the most ardent of Jenny fans. Starving artistes who write about their own tortured childhoods are seriously so much more likeable than rich accomplished 'writers' who rip off their friends' life-stories.

Another season over, another 12 episodes of drama come to an end. The fourth season of the groundbreaking lesbian drama series based in Los Angeles, USA has more ups and downs than all the rides in a Disney Theme Park put together, more drama than Bold and the Beautiful, and less sex than Friends?

To talk about the beginning, we must talk about the end. Season 3 managed to do an extremely good job of alienating everyone from stone butches to bisexuals to goldstar dykes to Dana-fans. And if that was not enough, the continued and annoying presence of a certain Band That Shall Not Be Named [here's a hint, their name starts with B, and ends with y. Shh! Don't say it out loud!] and the refusal to remove the world's most annoying theme song, turned dykes against the show by the score.

Season 4, then had a lot of slack to pick up. It had to bring back the humour, the drama, the fun that Season 3 somehow lost along the way.

The wait for the first episode was fraught with suspense over all the cliff-hangers in the last episode. The biggest cliff-hanger, to me, was not knowing whether Bette was going to be in prison: I just wanted to know whether the theme song was going to be changed. And in a few short minutes after playing the episode, everyone around me should have gotten the answer as I let out a desperate wail and started pounding my head against the computer keyboard.

My patience at not turning off the show at this point was rewarded, as I was treated to a sumptuous good episode of The L Word, back with full gusto and drama that put my faith back in Ilene. It set a very good tone for the rest of the season as it set up everyone's plotlines.

The rest of the season, similarly, met my expectations, with occasional letdowns. The writing, as usual, was off sometimes, and on occasions, extremely painful. I thought I was sitting through an episode of Whizzes of the Void Deck as Shane and Paige stumbled through 'educating' a class of 9-year olds on homosexuality. This scene was an example of a storyline in the show with so much potential, but went down the drain due to bad writing. And then sometimes, the writing was simply amazing, as with Episode 6, where all the women were shown on the phone-tree, doing what lesbians do best: creating drama.

This season also introduced four new characters, which greatly increased the diversity of the show. The introduction of the African-American lesbian, Tasha, pleased me the most, as the lack of non-white queer women on the show was an issue bugging me from the beginning. To add to that, her position in the military, as well as her role in the Iraq War, provided us with the interestingly conflicted perspective of the LGBT person in the army. Jodi, the deaf lesbian was a welcome addition, as the issue of physically challenged LGBT people is hardly ever broached in our community. Phyllis Kroll, the chancellor, is the story we all know and hope to never live: the woman who comes out very late, after living a completely heterosexual life.

Another season over, another 12 episodes of drama come to an end. The fourth season of the groundbreaking lesbian drama series based in Los Angeles, USA has more ups and downs than all the rides in a Disney Theme Park put together, more drama than Bold and the Beautiful, and less sex than Friends?

To talk about the beginning, we must talk about the end. Season 3 managed to do an extremely good job of alienating everyone from stone butches to bisexuals to goldstar dykes to Dana-fans. And if that was not enough, the continued and annoying presence of a certain Band That Shall Not Be Named [here's a hint, their name starts with B, and ends with y. Shh! Don't say it out loud!] and the refusal to remove the world's most annoying theme song, turned dykes against the show by the score.

Season 4, then had a lot of slack to pick up. It had to bring back the humour, the drama, the fun that Season 3 somehow lost along the way.

The wait for the first episode was fraught with suspense over all the cliff-hangers in the last episode. The biggest cliff-hanger, to me, was not knowing whether Bette was going to be in prison: I just wanted to know whether the theme song was going to be changed. And in a few short minutes after playing the episode, everyone around me should have gotten the answer as I let out a desperate wail and started pounding my head against the computer keyboard.

My patience at not turning off the show at this point was rewarded, as I was treated to a sumptuous good episode of The L Word, back with full gusto and drama that put my faith back in Ilene. It set a very good tone for the rest of the season as it set up everyone's plotlines.

The rest of the season, similarly, met my expectations, with occasional letdowns. The writing, as usual, was off sometimes, and on occasions, extremely painful. I thought I was sitting through an episode of Whizzes of the Void Deck as Shane and Paige stumbled through 'educating' a class of 9-year olds on homosexuality. This scene was an example of a storyline in the show with so much potential, but went down the drain due to bad writing. And then sometimes, the writing was simply amazing, as with Episode 6, where all the women were shown on the phone-tree, doing what lesbians do best: creating drama.

This season also introduced four new characters, which greatly increased the diversity of the show. The introduction of the African-American lesbian, Tasha, pleased me the most, as the lack of non-white queer women on the show was an issue bugging me from the beginning. To add to that, her position in the military, as well as her role in the Iraq War, provided us with the interestingly conflicted perspective of the LGBT person in the army. Jodi, the deaf lesbian was a welcome addition, as the issue of physically challenged LGBT people is hardly ever broached in our community. Phyllis Kroll, the chancellor, is the story we all know and hope to never live: the woman who comes out very late, after living a completely heterosexual life.