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Well that really hit the fan, huh?
This episode actually got me thinking about my own parent’s divorce. Not because they are in anyway as boneheaded as Helen and Noah are here, but because the show does manage to capture that hurt that permeates and radiates through you during a divorce. Helen can’t find a release, whether it’s with Max or at the bottom of a bottle, and Noah can’t seem to face it at all.
Again the show makes no real movements to make Noah a sympathetic character: While Helen’s problems are technically of her own making, this episode seems to lay out why exactly her stability has always been so important. At the very least, it established that even when those around her complain about it, her “perfection” is what her world is built around. Noah, meanwhile, is so intent on making everything right for him that even though he makes mistake after mistake in the eyes of what’s best for his children, he still gets to end the day with a brew and a girl.
Obviously Noah’s actions do have consequences. The way his children look at him and will feel about him from this point forward will likely be a reaction for his, essentially, total obliteration of their home life (Richard Schiff lawyer may have overused the term “paramour” but he did tap the right emotional vein there). But the show doesn’t seem as interested in the immediate consequences for him.
The introduction of his sister, though, indicates at least someone will be able to call him on his shit. A major sticking point for Noah has been that people see his value, appreciate what he does for them, all the while not seeing that much of his actions revolve around what he needs. Though his sister is only introduced this episode, she had an understanding of his character and a sort of established camaraderie that felt believable to me. Though they clearly don’t see eye to eye on this (or Noah just didn’t want to hear it) she gets him, in that way where only a sibling who has seen you grow can.
As for Helen, she seems to have no one. Hell, she even tells the hairdresser that no one would come with her to court. I’m not entirely sure, but it felt almost like they were trying to play much of Helen’s screw ups and misfortunes for laughs, but it felt so cringeworthy to me. The entitlement, the sadness, the aching pain that Maura Tierney is able to communicate; it all made me want to curl up into a ball. And for God’s sake PULL THAT FOIL OUT OF YOU’RE HAIR!
It’s clear that they want Helen to be out to sea here (a parallel I found somewhat reminsicent of Alison at the beginning of last season). Before she seemed to be willing to be pulled in whatever way seemed best—her kids, Max, her mom, etc.—but all the while she was still waiving her arms, searching for some attention. It seemed like maybe Max would be the guy to give it to her, but as it turns out he was just as selfish as…well, honestly, most people on this show. Whether she picked up that Max gave Noah money largely to get the competition out of the way or if she just feels like she’s the only one not being given a lifeline, she at least finally acted on the insecurity she’s been feeling about their relationship as long as we’ve known them (four episodes, I guess).
It makes sense that Noah and Helen would both focus on the parts of court that felt most damning to their own side, which makes it feel really unclear where things are going to go. Like Helen’s own mother, who we learn faces problems in her own marriage (confirming what Helen’s dad told Cole), Helen is not in love, or maybe even in like with anyone. And what’s worse is no one seems there to catch her when she falls.
The best scene of the week comes when Helen’s mother (now a ginger) comes to collect Whitney to go to her Bryn Mawr reunion, and reveals she doesn’t even know where her husband is. It’s a subtle shift in the kitchen, one I’m not surprised Whitney missed, but it’s some powerful acting.
- We get the first linear appearance of Richard Schiff, who Helen knows through her father (and presumably booked through her father, but was unaware he wasn’t in the state/country. Curious) and a whole lot of “his paraMOUR”
- “It happens to be the legal term for it.”
- Whitney’s texts are all one-sided.
- Also obnoxious—in fact, so are basically all Solloway kids, save for the youngest.
- Ginger Grandma though…Not sure I love the hair, but the “one thing your father is good at is protecting his money” line was gold.
- Helen wanting to drink straight from the bottle but also sing along to the song; a classic dilemma.
- God Trevor was such a little shit. Takes after his Dad I guess.
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