On Monday morning, Honey is on the set of Ginuwine's video as Ginuwine and the neighborhood kids rehearse a dance routine. Everyone is overjoyed, taking a moment to share a group hug, while Honey frets over Michael's continued absence.

Suddenly, Michael arrives in a limousine and immediately informs Honey that her dance routine is not working, and he has decided to go in a sexier direction without the neighborhood kids. With that, Katrina steps out of the limo and gyrates seductively. Meanwhile, Honey is forced to fire her young friends, who are absolutely crushed by this development.

As we join Honey and the gang working on Ginuwine's latest video, all the kids sporting sweatshirts adorned with "G" for Ginuwine, there has surely never existed a more utopian workplace. In addition to initiating an ambitious group hug, Ginuwine personally embraces Honey for all her incredible work as well as her sunny attitude. Unfortunately, Honey, along with the viewer, cannot be distracted from the fact that this entire production -- lights, camera, and action -- has pulled itself together and apparently commenced in the total absence of director Michael Ellis, the man supposedly in charge of it all.

In fact, once again, we see that Honey has adopted all directorial duties (such as calling "cut," her longtime favorite); for a brief moment, it seems possible that Honey will throw us a narrative curveball and reveal that Honey's true passion is directing, which would make sense considering her lack of proficiency in the fields of choreography or dance. When Michael finally shows up, it is surprising that he does so via limousine, less because of the actual limo and more because he should never have landed another directing gig after the last one.

It seems at first that Michael is up to his old tricks, especially as he exits the limo mid-text and continues texting all the way to the director's chair, looking up only to greet his director of photography who is somehow not livid to see him. However, as we frequently learn in movies, second chances are invaluable; almost immediately, Michael demonstrates uncharacteristic leadership as he calls Honey over and declares, "The whole kid thing... it's horrible."

As can be expected of a naïve young woman starring in a movie named after her, and for whom everything has gone fortuitously since the opening credits, Honey leaps to the selfish conclusion that Michael is dismissing her kids from the video as revenge for not having sex with him that weekend. While Honey clearly thinks Michael is the one with the bruised ego, here she inadvertently reveals the inflated value she places on her own desirability. The truth is, Michael has finally made his first savvy decision as a director in the entire film: he is revamping the entire shoot because these kids are deplorably talentless.

On the other hand, besides firing Honey from a job she didn't actually do anyway, Michael otherwise exhibits his trademark unprofessionalism: he once again blows thousands of dollars by making enormous creative changes once the cameras have already started rolling. Additionally, Michael stands to outrage the artist himself, who has already exhibited such personal attachment to Honey and her tiny dancers that we fear he might suffer a nervous breakdown at this news (as Mariah Carey famously did when Honey withdrew from one of her videos in 2001).

The sudden appearance of Katrina asks viewers to recall the film's opening scene, over an hour ago, the only other time this character has been seen or referenced. Judging from Katrina's glee as Michael spanks her on the bottom, it can perhaps be assumed that Katrina was more receptive to his advances than Honey; in fact, Katrina's presence at all suggests one of two possibilities: (1) there are only two choreographers in the music video industry, or (2) Michael intentionally sought Honey's dance rival, had sex with her, and hired her out of spite. In the case of the latter, we can hardly blame Katrina for succumbing to Michael's erotic pose, as she is only human; certainly, this might be more than we can say for Honey.

Finally, after Honey breaks the news that they're fired, the neighborhood kids turn on her instantly, stomping away en masse and blaming Honey for ruining their only shot at life without drug dealing. Though we sympathize with their disappointment, their anger seems misdirected considering their good friend Ginuwine has already forgotten about them and is receiving a lapdance from Katrina in the background.