There's a big difference between flirting with absurdity, becoming more fantastical, and jumping the shark. The first two affect the tone and content of the document organically to drive the plot forward. The last one typically refers to a single absurdity which is inconsistent with the rest of the document.
QC has frequently flirted with absurdity; in fact, Pint-Size is a absurd element in himself. It goes back and forth between the fantastic -- the trip to the Station -- and the mundane -- the whole story-line culminating in MartenAndClaire -- and does that frequently. In this case, we started with a mundane storyline -- Faye finding a new job at a robot MMA gym and growing through it -- to a mundane conflict -- CorpseWitch's abusive and controlling behavior toward Bubbles -- to Bubbles' attempt to break free of her abuser.
Now, here's the important point about escaping victims -- they frequently try to get out through their social circle, but often can't. Frequently, the only way out is for having someone outside to intervene. Those someone's may have their own motives -- the YWCA is a Christian organization, for instance -- but that doesn't mean they aren't helpful, and don't appear out of nowhere.
Imagine you're in the hospital after being beaten, and suddenly the doctors are thrown out and a woman in business casual comes in and says "Hi. I'm from Family and Health Services. Would you like help getting out? We can get the kids out safely -- will you accept our help?" What would that look like in an AI world?
ETA (and really important IRL): You know about those "If you or someone you know is being abused or controlled, call" signs. If you find yourself in Station's position in real life, and someone you know is being controlled or abused, call that number. Those visits from that young social worker save lives.