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What we are getting in this episode, I found a lot of it incredibly cathartic. I felt

like in my notes, I was just saying this performance from,

you know, basically insert ex-member of the cast because everybody is fucking firing in this one.

Like Timothy Hutton kills it. Mikhail Huisman kills it. Elizabeth Rieser. Just everybody is doing

such a fucking great job in this episode. I know. I know. And I feel cliche to be like out of all those i mean i do think that kate sigel is my MVP of this episode but it's like oh that emotional breakdown got me trace that's the thing like she gets you know the oscar moment you know of the episode you know well when you marry the director and the showrunner, you get the juiciest part.

That must be, because he had to have known he was going to cast her in this part when he was writing this.

And so I just, it must be so fun to, like, write for your significant other.

I would hope so because I think the temptation, you know, we've had a number of conversations about Mr. Robert zombie and Sherry Moon and how people feel like there's an element of nepotism for all of the roles that she gets. And folks, you can go back and listen to any

of our episodes because we always end up having to address it. But I think it's because it's a common

critique. Whereas here, I feel like people don't wield that as a kind of accusation against Flanagan and Siegel, but it's in part because he always gives her things that she is going to do really, really great work in, but it's also not like, oh, you get the lead role every fucking time. Absolutely. I remember watching The Fall of the House of Usher and she dies, and spoiler alert, in the second or third episode. And I just remember being like, what? Like, no, I want more Kate Siegel. But you realize it's because, yeah, you know, we did hush and then she got this juicy role in Hillhouse and then she's had other really good roles. So I like that Blanagan is willing to spread the wealth. Yeah, absolutely. So he doesn't, yeah, I guess fall in the rob zombie trappings. But, you know, we love Sherry Moon Zobie. To each the rump. Yeah. I mean, we love her screen presence and not so much her real life presence. But yes, that is a COVID discussion. I just feel like that's like, honestly, like so many, so many people in this industry nowadays where I'm just like, oh my God. Like another one like it must be a day that ends in a why. Oh yes. Yes. Someone died recently and everybody is very grief stricken and I'm like, I'm just going to zip my fucking mouth up and not remind people about certain things. But go off everybody. That's dating the episode. But yeah,

yeah, so let's talk about this 1992 timeline because not, I mean, I was saying not a ton

happens here, but it does seem to be really in service of the revelations that Hugh delivers

to Stephen in the car. Yes, I agree. And I will say one of the things that I found

intriguing about this episode is compared to so many of the other ones. You know, basically the oneer is nobody's episode. It's the one or episode. But everybody else got an episode, including episode seven, which was really huge. And here I was like, okay, so what are we doing? Is this a particular person's episode? And I ended up kind of settling principally on Steve and Shirley because they seem to have

the crack moments.

That's what I called it in my notes.

It's the moment where they realize, oh, this defensive game where I've been putting up

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