FROM Season 4 Episode 7 Review: ‘Best Laid Plans’

(Warning: Major spoilers for FROM Season 4 Episode 7 “Best Laid Plans” ahead.)

In FROM Season 4 Episode 7, the people in FROMville finally learn about Jade and Tabitha’s connection. It…does not go well. There are the skeptics—those who point out that there have been plenty of wild theories about the place and how to escape it over time, none of which have turned out to be anything other than a delusion or a trap—and, far beyond that, there’s Henry’s immediate, visceral, practically violent opposition to the news. On the other hand, though, that door in the basement of Colony House is pretty convincing; and then, there’s the message that came along with Jim’s corpse. Put that together with a speech from Boyd, and maybe—just maybe—some folks start to believe.

But that doesn’t mean what comes next is at all going to be easy…because it won’t be. If this hour proves nothing else, it most certainly proves that. Before going into the tunnels, Boyd wants to know as much as possible about every single entrance and exit. He also wants to find out if the same totems that stopped the giant, creepy dolls can help fight the Creatures in the tunnels. The result? Well…that doesn’t go well either. At all.

In the hour’s final moments, what began as a series of continued mental and emotional breakdowns (for Henry, most of all), as well as a time for fact-finding and planning, becomes a horrific reminder of FROM‘s most basic rule: When Boyd rings that bell, when dusk falls, you’d better get inside to safety. Otherwise, you might very well become the monsters’ latest victim. Those moments where Kenny finds himself surrounded and rushes to that bus for an attempt at safety, ultimately winding up on the roof in a stance that simultaneously implies he accepts that he’s done for but also isn’t going down without a fight, are are about as heart pounding, anxiety inducing, and full of dread as we’ve seen to date.

The ending is a pure nightmare, brilliantly created on every level as we cut back and forth between what seems, for a heart-stopping few moments, to be Kenny’s last stand and the attack on Colony House. Whether it’s the pure darkness, the score, that red filter as Fatima sees what’s happening through Smiley’s eyes, those shots of the monsters on every available porch, or Kenny bravely awaiting his fate on the roof of the bus, it’s horror done right. And it’s horror done in a way that, with FROM Season 4 Episode 7, this series reminds us it’s been doing all along. And that, if we think we’ve seen it all by now—if we think we know what the game is—we’ve not been paying a single second of attention.

FROM Season 4 Episode 7 features some big surprises, from Fatima’s ability to stop the thing that came out of her from killing Kenny, to the Man in Yellow’s ability to reanimate the thing that was Roger as its own sort of new, hybrid monster. But what remains as predictable—in the best way—as ever is just how well the series continues to deliver hit after hit. As we move toward the end of the season and the best hope at an escape yet, this episode seems to warn us there’s plenty more ways “Sophia” can force even the best laid plans to go awry.

MORE: Julia Doyle warned us her character had “lots of things up the sleeve” earlier this season.

Henry continues to spiral in FROM Season 4 Episode 7

FROM Season 4 Episode 7 is another stunner for Robert Joy, as a Henry who just keeps learning more things about his late wife that he simply can’t handle. Learning what the Man in Yellow did to Miranda already had him turning to alcohol. Now, after Boyd tells him about Jade, Tabitha, and—most importantly—Tabitha’s relationship to Miranda, that hits him so hard in his already-drowning state, he starts to lash out. Now, Henry’s not only looking for an escape, he also wants to make sure everyone knows exactly how upset he is. And, since he’s powerless against all of it (as everyone else is), he’s just going to shoot the messengers. So to speak.

I don’t think there’s a single scene Joy’s in where he doesn’t just absolutely steal the show. That very first shocked, offended closeup on Joy, as Henry asks Boyd “are you insane” is a moment all on its own. And yet, it’s somehow unremarkable compared with everything else that follows. Every single movement choice, every new way he finds to say the word “NO,” every broken sentence and thoughtfully-placed bit of emphasis, every bit of rage, every time Henry’s offended or looks like he’s experiencing the worst kind of betrayal, and even every single change in the pitch and quality of his voice tells a powerful story of a man well past his limit, yet forced to continue taking on more.

So many people trapped in FROMville have started to accept this as their new normal, have adapted in that all-too-human way to the most inhuman of circumstances. But Henry Kavanaugh can’t. He won’t.

Especially not when it means accepting that the woman he loved didn’t just disappear with his children, that she and one of those children are both dead, or that the one who survived has been shaped by decades of horrors—and on top of all that—accepting that this was also inevitable, that she was always tied to some other man, some other life, some other children. It’s a whole new layer of loss and powerlessness in the face of so much grief, which is at least part of why he responds to the news the way he does here. I’d wager, especially given the timing of…whatever happens when he sees Victor’s drawing, then again when he’s at the bar with Jade, Henry’s a bit too passionate and over-the-top with his denial because of Sophia spiking his drink.

Although it’s painful to see Henry (again) leave Victor when the poor guy’s clearly stunned by this news too, and it’s worrisome to think about him interrupting the town meeting to loudly tell everyone it’s not true when we know it’s ordinary people who rise up and murder Jade in every lifetime, it’s also impossible not to love every second. That all comes down to a combination that’s mostly about what Joy does with the character, and also a little bit of how Henry’s journey here can apply to people going through perfectly normal struggles that have nothing to do with monsters, reincarnation, shapeshifting devils disguised a sweet, little religious girls, or any other supernatural/horror element.

Often, when something hurts too much, what others might mistake for us attacking them is more a matter of us not knowing where to put all that pain. The same goes for the overwhelming amount of fear this place forces everyone to live with, and battle against, every single day and—to a much higher degree—every single night. As we see Henry spiral more and more, demanding Jade never says Miranda’s name or practically growling at Boyd, the coping mechanism he turns to—alcohol—brings out the worst in him and helps to break him further. That’s also a something that the character highlights in the clearest terms possible. Alcoholism is a disease, and it’s one that makes you sicker and sicker the more you turn to it for help.

MORE: Henry’s faced one rude awakening after another since Tabitha first showed up at his house in Season 3.

“Are you really my mother?”

Henry’s not the only person who doesn’t know where to put his feelings about these new revelations. FROM Season 4 Episode 7 sees Julie also flatly rejecting the possibility that any of the Tabitha/Jade cycle could be real. It makes sense, considering her recent failed attempts at controlling her storywalker abilities, but at the same time, it’s almost like she’s taken a major step backwards. At the beginning of the series, she acted out in similar ways and even chose to go live at Colony House instead of staying with her family in town for a time. And then, there’s the way she reacts to Elgin trying to give her some hope that there is a reason behind all of this—kinda heartless to throw his mutilated face back in, well, his face. Just saying.

In an hour where everyone’s finally being open and honest about Jade and Tabitha’s past lives, it’s a somewhat frustrating choice not to have Julie use her own (assumed) delusion to explain why she won’t listen to her mom’s. But maybe telling her mom she failed would make that failure even more real? Or is it that fighting in front of Ethan is fine, but Julie telling him his stories are just that—stories—would be a step too far?

Ethan, as the person with the biggest imagination on the planet, seems to be trying to work things out in his head. The one question he wants an answer to is whether or not all of this makes Victor his brother. After all, if Victor’s mom is Miranda, and Ethan’s own mom was Miranda, doesn’t that make Tabitha Victor’s mom? There’s a childlike acceptance there, and for someone who’s always connected with Victor in a way that others never tried, it makes sense. But then, Victor…kinda freaks him out.

So, let’s back up. When Victor first learns about Jade and Tabitha, he’s in his room with his dad. But we don’t even see him, much less learn how he’s feeling about everything, until after Henry has already started going off. It’s when a very gentle warning of “Henry” from Boyd has Henry sharply sitting back as if he’s been hit, that we see Victor’s been sitting next to him the whole time, silently, slightly hunched over to protect himself, that hair falling to cover his eyes—but never his hurt—as it always does. When Henry tries to get him to leave with him, to stop listening to Boyd, we just get that sullen sort of “it’s ok, Dad” out of Victor that really sets Henry off all over again.

But, of course, it’s not ok. Scott McCord does that thing he does so well with Victor, where it’s like the shadows and trauma are sitting there with the character. He may have been alone for a very long time in this place, but now, everything he’s been through will never abandon him. In FROM Season 4 Episode 7, his presence in that first scene reveals Victor to have been affected, yet not really changed, by this new trauma. Is he hurting? More disheveled, more traumatized and gloomy than before? Yes. But different, the way Henry is? No. And that’s the huge contrasting detail, right there.

The news does get Victor to take action, though. He tells Boyd that, while he doesn’t want him to talk anymore, he’ll help him find out about the Man in Yellow. He says the story has “everything” to do with the Man in Yellow because “if he’s back, it could all be happening again.” And then, McCord breaks us with Victor’s tearful gaze.

As the rest of FROM Season 4 Episode 7 unfolds, he comes to Tabitha for help. That alone is a really interesting point. Last season, when he had to do something scary, he went to Sara. Now, he comes to the person who’s…kind of? A mother figure??? And the way McCord slows to a stop, frozen almost, on that initial approach to the house speaks of a profound sort of reaction to Victor actually seeing this person for the first time after hearing some part of his mom might be with her.

Off Victor, ~~Miranda~~ Tabitha, and Ethan go to look for clues in the Man in Yellow’s car. That lot of abandoned vehicles is deadly silent, to the point where viewers can hear the creak of a trunk opening (among other things). As Tabitha recognizes Miranda’s old car, and is almost in some sort of trance as she remembers driving into town, Victor does find…something. A bag of teeth, casually placed in the glove of the brown car Sophia’s true self came to town in the first time. Here, McCord again makes really interesting choices, as Victor takes his time with that pouch, afraid at first to really examine it, then poking at it suspiciously, and finally opening it after what feels like forever…to reveal…the teeth.

What’s next? A terrified Victor urgently tries to get away (but keeps the bag?). When Tabitha won’t immediately go with him, he finally asks her, outright, if she’s really his mom. She doesn’t answer quickly enough—it’s complicated, ok?—so Victor starts to have a total meltdown. And, honestly, that’s the correct reaction to…everything. Whatever Victor’s been holding in after hearing about his mom’s reincarnation, and with all the quiet ways he’s had to endure his dad’s unraveling, those teeth in that bag set him off.

McCord puts on a masterclass of his own, as Victor tries to get Tabitha and Ethan to understand that Ethan could be just like him next—he could be alone here, soon. The rapid-fire way he rattles through this, the agitation building and building, really hits hard: “Don’t you see? Don’t—….you came to town last time. You brought a boy and a girl, and the Man in Yellow showed up. Everyone died but not the boy! The boy lived, and he grew up alone! And afraid, and…he wasn’t prepared. And now, you’re here—you’re here with a boy and a girl and again, and the Man in Yellow is back.”

Because he starts to scare Ethan, Tabitha puts an end to things. First, she positions herself between Victor and Ethan, protecting her son. (So, there’s the answer to if she’s really Victor’s mom, I guess.) Eventually, she just scolds him with “what’s wrong with you.” And like. First of all, he’s telling you. Right now. He was left here—alone—after everyone died, last time the Man in Yellow came. Second, how anyone looks at this man who’s been here longer than everyone and can ask that, I will never know. What’s wrong with Victor? Trauma. Horror. A spirit and a psyche totally broken by experiencing things most people can never fathom. How…how is that difficult, when everyone’s falling apart from a fraction of Victor’s experiences???

Anyway.

The point is, Victor now holds the Man in Yellow’s collection of souvenirs. His dad’s losing it, his mom and sister are long since dead, and if what we see in FROM Season 4 Episode 7 is anything to go by, it would absolutely kill him to see his young friend (brother, maybe?) have to live through the same thing he did. That’s love. If only people would see the gesture, and all that overwhelming pain, for what it is. Listening to his warnings, even once, would also be nice.

MORE: Last season, when we interviewed Scott McCord, he said Victor was “already trying to push past this fear of everyone dying” before Henry arrived in town. Now, it’s only worse.

More FROM Season 4 Episode 7 reactions

When you find a hidden door, and even the town’s resident “big strong man” type can’t get it to budge.
“Our lives are f**kin weird, man.” “…yeah. They are.” So, a couple of things here: First, this was funny AF. That tiny pause before David Alpay responded to A.J. Simmons, followed by the silent wait from both actors before they both kinda…looked at each other, really sold it. Second, that camera angle, and several in this hour, really had us looking up at these people from down below. So, like. Who, or what, is doing all that watching down there? The monsters in the tunnel? The children whose bones are buried? Both? Something…else????
Henry’s opening “good evening” when he comes back to Colony House is equal parts a little bit too bright…and very sarcastic and dismissive. Kind of a “F you, leaving now” sort of vibe to it.
God. Even before we get to everyone turning Henry’s world upside down (again) and his emotional response to that, Joy’s just putting on a masterclass. It’s all the simple things—like how Henry turns away from Boyd and Kenny after his barely-friendly greeting. He doesn’t “just” leave the room, doesn’t “only” keep up that drunken swagger. No. It’s…he tosses that one leg out sharply, like it’s making a decision against his will or something, then swivels, and pivots, and staggers away. Right into the entranceway between the rooms.
Things that will sober a man and have him sitting up straight immediately: Worrying about his son. (Also, no, Victor’s not ok and hasn’t been in 40 years. But it’s about to be worse! Thanks for asking!)
“No, I’m fine!” “You sure?” I like the choice to have Boyd holding those hands up as if in surrender here, wary. Like he’s dealing with a wild animal that could attack at any time.
“Do I need to say it again?” …and Boyd looks genuinely dumbfounded here because this is not the normal Henry that we’ve seen so far.
Julie’s reaction to hearing about the dolls? Same.
“It’s, it’s something that’s…been very hard for me to…to understand. To believe.” Understatement of the cycle, considering how she talked to Jade in that barn.
It’s so interesting to me, how we see at least part of Tabitha explaining things to the kids, but with the other conversations about this whole…thing in this episode, we always only get the aftermath, the responses, the storytellers’ defenses. I also like the choices Catalina Sandino Moreno makes here, in terms of how she shows those struggles with Tabitha totally not even knowing where—or how—to begin.
“I’m—I’m not listening. To this. Do you have any idea! What you’ve just—…how DARE you! How…?”
“Don’t. YOU DON’T! Tell me. What to do. You come in here. And you say those things. If…that my…wife…no.” That very first “don’t” absolutely leaves no room for argument. Then, there’s the tone Joy uses, as Henry’s pushing his way past and out. The emotion, the way he breathes, even! So good.
“It’’s ok?! It’s not ok…” That high pitch from Joy on the end here just…absolutely gutting.
“Look. Why don’t we all—…” “ NO!” Of the many ways Joy manages to change his delivery on the word “no” in this hour, this one might be the one that’s most easily described as GROWLED.
FROM Season 4 Episode 7 is simultaneously not a big episode for Boyd and absolutely everything for him. He has to explain these things, has to struggle through his regret at having to break the news to Henry and Victor (and break their hearts more), to calm the rest of the people in FROMville when they can’t believe Jade’s story, and to try to make sure they plan everything out as well as they actually can going forward. It’s a lot to hold together, an immensely difficult position to be in—more than ever before—and Harold Perrineau, unsurprisingly, makes every small moment count.
We don’t get enough Bakta, so I’m really glad it’s her that originally starts sort of hopelessly trying to make sense of things with her questions during that town meeting. Something in those confused gestures, as she asks if it means everyone was here before, just does it for me.
“Then, what the fu** are we all doing here?” Randall, straight to the point.
These visuals. LOOK HOW MANY PEOPLE ARE THERE. Like, this is 100% Jade and Boyd’s perspective, and they’re not at a town meeting—it’s a trial. And the penalty for Jade lying? Death. The penalty for everyone if Jade’s right, but they can’t safely execute his plans? Also death!
“Look, Kristi? I was the first person to call bullsh** on all of this, ok? But the truth, is Jade saw something in that trip he couldn’t have possibly known.” The emphasis Boyd gesturing at himself with both hands gives here: Excellent.
“But how do we know this isn’t just—…I mean, this place puts a lot of weird sh— in our heads.” “I know—believe me, I thought of that, too.” “Sssso how is this any different?” Marielle and Kristi are not letting this man rest. (Good. People need to know for sure.)
“Look, that message was meant to scare us. But. I think the message tells us something else. That we are close—for the first time, we are close to figuring this place out. When your enemy threatens you, right? Tries to scare you. That means they are scared of you.” Boyd for President.
Alpay and Joy together when Jade follows Henry out of the town meeting he crashed at Colony House: Yet another brilliant moment for both. Of all the people to try to comfort Henry here, Jade’s the one that feels most responsible for this latest blow and therefore wants to help. But, at the same time, he is the worst person to mention Miranda right now. And wow, do both actors sell this. Jade wants him to listen so badly…It’s like he wishes he could force Henry to believe but knows he has to hold back. The, like, restrained intensity from Alpay is everything. But…no. Henry can’t. And Joy’s continued portrayal of that breakdown is exquisite.
“Miranda was right!” “You don’t—you—say her name.” Poor guy can’t even form thoughts, he’s so upset.
“No. No. You listen to me. You may think you’re helping people—you may think you’re smart enough to get everyone home. But, I promise you, the only thing you will cause is painnn. You cannot save dead things! No matter how f**kin smart you think you…” Again. Every single bit of every single line reading, and every bit of movement, is completely brilliant here. I know I’ve mentioned this already, but something as simple as repeating the word “no” throughout this hour, but never saying it the same way—or even close to the same way—is some great stuff.
“Seriously? After everything you told us last night, this is what you’re gonna hang up on?” Points were made.
“It’s not real. This place doesn’t give us real. It gives us f—ked up, twisted ideas.” Tabitha’s little reaction to this is great. It’s like she was expecting a fight, and ok. Here it is!
“I’m not ok. But I’m not gonna hurt myself.” Relatable for far too many of us, at times.
“Talk to Randall.” “About what?” I giggled.
But also: “He spent a lot of time on the bus watching those things come out of the woods at night. So, we need to get as much intel as we can on their behaviors, their patterns, at the very least a head count.” Further proof that every single detail in FROM is both planned and important.
Oh, ok. Now, Jade notices Boyd’s hand.
“Look: We just told everybody out there some genuinely f**ked up sh**. The longer they get to stew on it, the greater the chance somebody gets in their head to do something stupid. So. We need to do this smart. But we gotta do it fast. Let’s get to work.” Smart way to change the subject.
This is a…strangely nice moment between Boyd and Acosta? Even with her little bit of attitude when she starts taking notes…
Possessed ViewFinder gonna mess with this man now.
“Kristi!” “What.” “Wh—come onnnnn!” Love how he pulls back, so offended. Almost like Kristi slapped him. And, like. These two really don’t need a lot of words, huh? Like, that’s a whole conversation because of the body language and the tones they each take.
There is absolutely nothing in Kristi’s expression that says she believes what this man is saying about his health. (Good.)
“So, you thought it would be a good idea to gather up a house full of emotionally-unstable people and spend the night talking about…reincarnation and the bones of dead children.” First off, so good to see Donna well enough to give Boyd hell. Second, this is fantastic from Elizabeth Saunders. I particularly like that breath right before “reincarnation,” like Donna can’t even believe she’s about to say this sh**, and the overall tone she takes here is super. Like, Donna wishes she could get up and shake some sense into this man a little, huh?
“Right. Because you took a f—kin’ sledgehammer to my wall…” And his look—he is caught! I adore them.
They need a new space to bury people. Broke me.
Oh, ok. The Man in Yellow has inserted himself into both the meeting and Acosta’s search group. Fab. Truly. Great. Nothing wrong with that!
I can’t stress enough how lovely of a job Kaelen Ohm does with Marielle’s haunted, tragic contemplation in the FROM Season 4 Episode 7 barn scene. That hushed tone works so well.
Beautifully written: “My mom used to tell me that when people die, they just go somewhere else. She didn’t really believe in Heaven or Hell. She just believed that death was a transition to another place we couldn’t see from here. I remember how much comfort that brought me when she passed away. But whatever that place is…Roger doesn’t get to go. Because he’s still here. They’re all still here. Whatever they’re doing to find those bones, we need to help.”
Fatima’s talked multiple times this season about the stories her dad told her that brought her comfort, and she’s been desperate to believe. Meanwhile, Marielle? Gives us the other side, the realization/acceptance that stories really are just…stories.
…annnnnnd the closeup on poor, dead Roger.
Boyd is so sure this is going to help, as if all the other things haven’t failed…Sir, you killed one of those things, and it came back by using your daughter-in law as a vessel. JUST SAYING.
But also, like, I love how he can’t believe Ellis even asked who was going to go out there and do this.
It’s so unbearably quiet (after the “Tabithaaaaa!!!! I need to talk to you!” obviously) when Henry goes to that house. We can hear Henry’s footsteps, the rustling of the pages, so many small things. And the house seems to be watching him. Love a good horror framing.
Even the way Joy acts with nothing but those drawings as his scene partner? Perfect. That pained breath!
Um…WTF?
I’ll say this: FROM Season 4 Episode 7 kind of puts that theory to bed. If this is something Henry’s seeing, in his state, and after the Man in Yellow’s little extra flavor in his drink? Can’t be real.
…right?
Wow. The way he stares at his arm when he snaps back to FROMville.
AND THE SCORE. If Chris Tilton has no fans, I’m definitely dead.
A theory? The Man in Yellow doesn’t know everything. Otherwise, the innocent “Sophia” act with Boyd and the totem wouldn’t be necessary. But uh. They sure are able to change the game once they know what Boyd and the others’ plans are…
Classic “Jade trying to figure things out” scene! Gah, I love everything about singularly-focused Jade. Truly. I don’t know if I ever mentioned this when I was reviewing all the obsessive attempts at cracking the bottle tree code last season or not? But whatever Alpay does with scenes like this—that intensity, bordering on unhealthy obsession—is totally familiar to me. Like, various proofs I wrote as a Mathematics major, the way the rest of my brain shuts down as I focus on perfection in dance, the amount of obsessing I do over shows like this one…Jade gets it. Which means some aspect of Alpay does, too. I love that for him.
That faraway voice he uses to answer Kenny! Same!
Obsessed!Jade is, uh…not so much fun for poor Kenny, though, huh.
OMG KENNY IS TIRED OF HEARING ABOUT YOUR COMPANY, JADE. (Ricky He was such a blast here.)
Actually, the entire Coach Kenny exchange is so effin’ hilarious. I LOVE THEM BOTH.
And poor Henry’s like “WTF.”
…in retrospect, they totally put this goofy conversation in here to lure us into a false sense of security with Kenny’s safety, huh.
“Hey, Henry. What’d you do before you got here?” “Pretty much what I’m doing right now.” Superb timing from Joy.
“You gonna tell me what happened?” “…no.” Oh, Elgin. My heart. You poor, sad, sweet child who got duped.
“Because every time someone here feels like they have a purpose, that they’ve discovered the truth? Somebody always ends up dead.” “But there is a truth here. There has to be.” “Why? Why can’t this whole place just be some…random f—king cruelty that exists for no reason other than to do exactly what it’s doing? Look, I know you want to believe that this is all…some part of God’s fuc**ed up plan?” “I do.”
“There is a truth behind all of this. But you know how this place wins? By throwing so many lies at you that you don’t believe the truth when it’s staring you right in this face.”
That calm, reassuring version of Jade…is also a favorite.
“Have you talked to Tabitha yet?” “Have I talked to the woman you claim is a reincarnation of my dead wife?” …love that sigh after we see Jade’s reaction before Joy finishes with (yet another no!), “noooo. I haven’t had the chance. She was out, earlier, when I stopped by.”
WHAT. IS. HAPPENING.
Ok but Jade, you need to follow up on this before it becomes a problem.
LOVELY moment between Sara and Boyd: “I killed my brother. I tried to murder a little boy. Nothing I do will ever be enough.” Avery Konrad has done a great job with Sara’s guilt all along, and it’s always obvious from Perrineau’s performance that Boyd sees her and just…understands. I also like that his answer to the “be careful, Boyd” wasn’t a lie—he didn’t offer empty reassurances, just asked Sara to get people posted at those doors.
…which makes me wonder WTF happened between then and…one of THEM at every door.
That evil grin on Julia Doyle. God, she’s so good at this.
But what in the crack an egg.
Annnnnd here comes the score to freak us TF out.
You know it’s about to get serious when Boyd brings that purposeful stomp through town and that bell back out.
Fatima and Donna: My heart. Like, of course Fatima’s going to give her the tough love to make her stay in bed, and of course she’s going to hate every second of it.
“…after everything you’ve survived here, do you really want to die right before we all get to go home because you were too stubborn to lay in bed for a minute?”
That LOOK Donna gives her!
The way Saunders switches from irritated AF Donna to that sweet, motherly moment after Fatima mentions birthing a monster…help.
The whole Boyd/Ellis/Kenny scene. Yes. Perrineau kills it with Boyd’s fight against the very idea of letting someone else take this risk, and you can tell from Corteon Moore’s entire presence in the scene that Ellis hates that he has to do this. Hates it, yet isn’t going to back down. Because he’s right.
…and that head-shaking, eyes-widening reaction from Perrineau after Ellis mentions Boyd’s “condition” actually scared me. There was an oh-so-brief second where I really thought Boyd was going to step to his son the way he did Jade in the last episode. And maybe even worse.
Just pure FURY at his own body for betraying him. So well acted. And so, so, so real. It is absolutely infuriating to feel that self-betrayal when things start to break.
…and now, the terror.
Everything Ricky He does at the end of this hour is genius. Kenny looks sick before he goes out there. At the same time, he’s determined. The more Boyd tries to give him advice, the more locked in he seems…and then…he goes. He does the hard thing. Sure, he spends way too long waiting to see what happens to the Milkman and all, but that draws out the suspense for viewers, so it’s fine.
That shot of Kenny on the bus roof—real hero sh**.
Uh, so when Fatima said she could see what her “baby” sees, she was, um…yeah. Correct.
LOOK OUT THAT WINDOW. HE’S STILL SURROUNDED. HELP HIM.
Thank you, Elgin.
“What the F— just happened?!!” Yeah. That.
Oh, check out that barely-there satisfied smirk from “Sophia,” towering up there at the top of those dark stairs. I see you. B**ch.