Sabine Hake, whose Passions and Deceptions remains a wonderfully insightful book on the silent films of Ernst Lubitsch, responded to my query about the print sources she used when analyzing Lubitsch's Three Women (Lubitsch, 1924) by remarking: “so interesting that there is this renewed interest in Lubitsch—not sure why.” Certainly, recent Lubitsch biographers have considered Three Women an unlikely starting point for an investigation that might renew our interest: Joseph McBride's 2018 treatment of Lubitsch characterized the film as “shallow melodramatic fare,” and suggested that Lubitsch may have “lacked a feeling of genuine creative involvement.” In his 2020 examination of the transnational Lubitsch, Rick McCormick dismissed the film in a single paragraph. Admittedly, my decision to pursue this topic is embarrassingly idiosyncratic: This is my third essay on Ernst Lubitsch and his films with Warner Brothers in the mid-1920s. Returning to this group of six films––one of which (Kiss Me Again, 1925) is lost and another of which (The Jazz Singer, Alan Crosland, 1927) was directed by someone else, my attention was drawn to the newly available restoration of Three Women, Lubitsch's second film for Warner Brothers. There was a certain coincidental charm between my “three essays” and Lubitsch's Three Women, but it was also the first of three Lubitsch films to star May McAvoy.