(*And if you think that isn't hard to do, watch most TV shows while trying to understand where everyone really is in a room. They're not usually really showing you!)
Of course if you kept the sound off, you'd miss all the 9/11 jokes. This episode is centered around a production of Osama! The Musical, an original work being performed by the Skins Repertory Theatre. One walks a fine line when one attempts 9/11 jokes, and the easy and usually irritating way to get away with it seems to be the "look how transgressive I am being" Family Guy madlib approach "(Hey Stewie did you hear about how the Pope aborted a 9/11 terrorist at George Zimmerman's house?"). It's not as though jokes coming from that dark place can't be funny, but truth be told usually they aren't, and using them too often suggests something uncomfortable about the joke-teller. It's not unlike the trend/problem of "hipster racism" that's been in the news lately, mostly because of Girls.
("Hipster racism" is one of those things I want to say more about, but sort of can't yet, as it mostly a "know it when I see it" situation. It's definitely real, I mean it is the most predictable outcome imaginable--relatively affluent white people appropriate aspects of an ethnic culture without becoming assimilated into the original culture and a reflexive reaction to that embarrassment follows--but most of the writing happening (that I have read, anyway) on the subject is muddled and usually half-about something else. This article on Gawker just seems to be about regular racism, and The Atlantic Wire's articles on the subject are mostly about Girls writer Lesley Arfin and her tweets, which seems like a misguided focal point, to me. More on this story as it develops, in my brain.)
(*I mean, yeah, the jokes are still being written by knowing, cynical people, and if you think the cuddly rubes of the Skins cast DON'T shield this gag from scorn I suppose I can't blame you.)
ANYWAY this episode follows the exploits of the appropriately named Sketch (full name Sketchy Misery McSwimfan), a single white female living with her disabled mother and building a One Hour Photoesque shrine to Maxxie in her bedroom. We get a headfake toward pathos for Sketch when we first meet her, helping her mother in the bathroom (yikes). But it's short-lived sympathy; Sketch's opening salvo is attempting to murder Michelle. Then she gets a teacher fired for (not really) molesting her. And then she ties up her disabled mother and goes full Black Swan during the play, poisoning Michelle and seizing her role then surprising Maxxie and making an overture to him onstage. Finally, it all comes crashing down on her.