FROM Season 4 Episode 8 Review: ‘Heavy is the Head’

(Warning: Major spoilers for FROM Season 4 Episode 8 “Heavy is the Head” ahead.)

FROM Season 4 Episode 8 “Heavy is the Head” begins the morning after the now twice-dead Roger’s attack on Colony House. Although it’s far from the most disturbing thing viewers have had to witness or confront on this journey, beginning the hour with that long closeup of the remains (which we also watch getting torched at one point) comes across as both a jolt to the system and a warning. As we move into the last few episodes of this season, things are just going to become more dangerous, more deadly, more emotional, and more unforgettably weird. In case that corpse isn’t unsettling enough to get that message across, the episode’s final moments ought to get the job done.

Tabitha’s first meeting with the Man in Yellow is horrifying. There’s no direct threat, not exactly. He doesn’t really attack her either—just taunts her with memories she’s yet to discover, artfully arranges her own son’s drawings to remind her he could be left behind like Victor, and shares his keen interest in how the story unfolds from here. So, what makes the moment scary? That comes more from how disarmingly friendly and purely thrilled the Big Bad is, in contrast with the terror Tabitha feels and what viewers know about how this all ended for Miranda. And then, there’s this: “You’re here because you’re about to do something you’ve never done before.” Is that true—is this cycle really different from all previous ones? Or is this just part of the larger game and this evil entity’s web of lies?

The twisted, evil glee and over-abundance of familiarity Douglas E. Hughes portrays here are both diabolical and as entertaining for viewers as this whole situation is for the Man in Yellow himself. And, although we don’t know what’s true and what’s not when it comes from…whatever this thing is, one thing it says in FROM Season 4 Episode 8 seems to be as heavy of a message from the writers to fans as it gets: “You’re about to unleash a type of suffering you can’t even begin to imagine.”

Because, really, with only two episodes left of this season and the plan Jade comes up with in this hour as riddled as danger as it is, the question of “what can possibly go wrong” is nonsense at this point. What we should really be asking is “what can’t possibly go wrong.” In an hour where the residents of Colony House are already starting to snap at each other over their lack of safety, Fatima’s experiencing bizarre side effects after connecting with Smiley to save Kenny, Boyd continuing to unravel, Henry struggling to escape his visions, and Victor showing Ethan how to survive if he becomes—well—him, nothing good seems to be on the horizon.

Or, rather, the future feels bleaker than ever for those trapped in FROMville…but for the series itself and our viewing experience? Everything good seems possible because the series continues to deliver its signature blend of mystery, horror, and a heartbreaking study of people pushed to extreme limits, forced to make impossible decisions. Week after week…after week. FROM Season 4 Episode 8 is yet another win there.

MORE: When we interviewed Elizabeth Saunders, she warned us there would be “a fairly violent unraveling” in these last few episodes of FROM Season 4.

“…you have no idea how it feels…”

FROM Season 4 Episode 8 proves that this place is far from done with Fatima…as if she hadn’t already been through (more than) enough. Now, after saving Kenny’s life, her body is yet again being affected by whatever dark forces are in control of FROMville. This time, instead of something using Fatima as a vessel to birth the new/reborn/respawned Smiley, it’s leaving marks on her—strange, black veins that can’t be explained by medicine. Then, as we eventually learn from Kristi and Marielle’s hushed conversation at the clinic, her blood pressure and heart rate both indicate that, “medically speaking, Fatima shouldn’t even be alive right now.” And yet, she is

…isn’t she?

Aside from her vitals the blackened mess of her abdomen, Fatima feels fine. Even the cold sensation she described originally feeling when she connected with Smiley is gone. And yet. Nothing about any of this is fine. Not for Fatima, first and foremost—even if harmless, which this doesn’t seem to be, change is scary—not for Kristi and Marielle who have a major argument because Mari suggests, at one point, that whatever this is “might not be a bad thing,” and definitely not for Ellis who admits he’s terrified of losing her.

We can, and should, ask questions about WTF is happening here. And maybe Mari and Fatima are right—maybe there might be a way to control it and help others, like Fatima has already helped Kenny. But, as strange as it may seem, one of the most compelling pieces of this latest development in Fatima’s story isn’t about controlling the Creatures, or even how she’s functioning in what should be a dead body. Which, of course, all of those things are interesting to pick apart. And between the way Elizabeth Saunders portrays Donna’s forced stillness as she tries not to react to the sight of what’s happening to Fatima, or the way Pegah Ghafoori plays that agony over trying to figure out how—and how much—to share, or any number of other details, there’s plenty about this part of the hour that’s incredibly well executed.

But when Ellis packs up to go to the clinic with Fatima and he tries to say he understands how she “feels,” her response is the biggest development for me. It’s not because Fatima necessarily says anything new—we know she’s felt powerless, that building that golem helps her feel like she can believe in magical things—and not due to anything unique to the world of FROM. Instead, it’s more based in the real world, the personal. A lot of times, people will do the “I know how you feel” thing as we struggle through something terrible. But unless they’ve been there, they don’t. Even when they’ve experienced something similar, they still kinda…don’t totally get it.

Our trauma, both medical and otherwise, is our own. Nobody ever really knows it. And no matter how well-meaning them trying to empathize and help any way they can may be, it just rings hollow.

Second, there’s the moment Fatima explodes, saying she doesn’t care what happens to her, and how Ellis reacts to that. All she wants to do is find some positive—whether that’s saving lives or something else. But for Ellis, she’s his whole world at this point. As he tells her, in a wonderfully vulnerable moment from Corteon Moore, “if I lose you, there is no home for me to go anymore.” So, what would it even matter if Jade’s plan works out? He’s done for if she is.

Ghafoori’s quiet “Ellis” and the overwhelming amount of grief that come as responses to that are both so beautifully heartbreaking. To find love, light, and a glimmer of hope in a place like this the way these two people did, only to have it crushed like this—by things not only outside of their control, but that they can’t even begin to understand—it’s awful. Unimaginable. Bleak.

And there’s another parallel to what it’s like to suffer a slow decline from a mystery illness—or even a well-diagnosed one—when you’d previously had a bright future in front of you. In FROM Season 4 Episode 8, when she’s the one who may be dying, or changing, or dead, or some unknown fourth thing we can’t even think up, Fatima selflessly comforts Ellis. It happens all too often, feeling that ongoing need to share as much love and protection as possible while you still can. It’s just…painful.

Also painful? “The truth is, what you’re afraid of may already be happening…and if—if it is, I need to be able to take what good I can from that.”

MORE: In Season 3, we interviewed Pegah Ghafoori about Fatima’s pregnancy arc.

The plan(s)

In FROM Season 4 Episode 8, Jade has a difficult time selling his plan to retrieve the children’s bones from the tunnels to Boyd. No. Scratch that. He has a f**king impossible time getting Boyd to even consider his plans because Boyd looks at his model, realizes there’s only one way in or out of the chamber, and tells him to do better. In all fairness to Boyd, not wanting to get everyone cornered with no escape is completely rational. But they’re not in a situation where they have a lot of time to come up with better plans, and being in FROMville is the type of desperate situation that calls for desperate measures. Unfortunately, Boyd can’t save everyone. He has to accept that, as the ghost of Khatri points out to him, “it’s about saving as many as you can” now.

Throughout the hour, as Boyd stubbornly refuses to hear Jade out, and Jade goes from “inspired mad scientist” to frustrated, to outraged, to (eventually) inspired all over again, Harold Perrineau and David Alpay deliver the type of performances we’ve come to expect from both actors. Just like during Jade’s trip in Episode 5 and so many situations both before and since, Perrineau and Alpay tend to bring something extra out of each other whenever their characters are at odds like this. (Not to be confused with Extra, which Jade most definitely tends to be as he frustratedly gestures and condescends his way through explaining his model and challenging Boyd’s insistence on backup plans and safe routes.)

When Boyd’s dismissive of his plans, the way Alpay brings Jade down—from that thrill of discovery, into combativeness and condescension, and finally to that quiet glance down that acknowledges Boyd has a point about the monsters blocking their way out—is so good. Basically, that initial sense of inspiration simply melts away until it’s so far gone, it’s as if it was never there at all. And as Alpay buzzes with Jade’s nervous energy or lashes out defensively, Perrineau has a job that’s almost more difficult, but he handles it just as effortlessly.

Boyd is unwavering, determined, and able to see past Jade’s theory to the reality of human lives. So, Perrineau has to meet all that energy while still remaining the “rational” person in the room. He can raise his voice and get frustrated, and he can even rise to the same level somewhat, but he has to do so selectively. Mostly, he has to just play the brick wall, of sorts, that Jade wanting to run recklessly ahead smashes into. And that’s exactly what we get. Perfectly so.

Later, after Jade’s had his chance to freak the entire F*** out on his model, it’s when he’s totally given up, out of energy to try, and halfheartedly putting all the pieces back on the table that he figures it out. There is another way out, but the roots of the bottle tree are blocking it. So, Jade wants to pull the bottle tree out by its roots. But Boyd’s still not convinced. To say the least.

This time, Boyd’s the one who comes across as a bit more irrational—Kenny stays a constant third presence in all of these scenes, acting as the neutral/voice of reason party, and admits the plan with the tree could work—so Perrineau gets to explode. As a surprise to no one, it’s a thing of beauty.

But as Boyd’s busy storming through the woods and back to the post office, though, he’s confronted by something ugly. Kenny gets shot, collapses. Boyd calls to him, and begs, and pleads—to no effect. It’s hopeless. He also sees visions of Jade, Tabitha, Donna, and his own son all dead. Their bodies are twisted and posed just so, blood on Donna’s neck, or coming out of Tabitha’s mouth, even blotting out the last few cats on Jade’s iconic shirt. And the camera makes sure we take in every horrible detail, just as Boyd does…right until we notice Abby kneeling by Ellis.

I lied before. Boyd doesn’t explode with Jade when he screams at him about not sending people down there “with nothing but a hope and a prayer THAT WE PULL THE MAGIC TREE OUT BY ITS ROOTS!!!” No. In FROM Season 4 Episode 8, it’s that “GOD! What the FU**! DO YOU WANT! FROM ME!!! Huh?!!” at the scene of his vision, followed by the way he stomps back into his office, frustratedly tries to look for that missing yellow suit and ignore Khatri…and can barely force out words when he tries to get the man in his imagination to back the F off. “No—god! No! You hear me?” is everything, especially coupled with the way he impotently gestures with those fists.

…but the ghost of Khatri, or Boyd’s inner voice, or whatever is right: What Jade’s suggesting is the best they’ve got. And now, much like Jade had a chance to crash out earlier, it’s Boyd’s turn. The rage, the shaking against that window, and the sense—all along—that he’s powerless is absolutely everything.

Who’s doomed from the start, who’s going to survive Jade’s plan, and is it even going to work? Who can even guess at this point?

MORE: Here’s how David Alpay prepared for Jade’s trip.

“Everything’s so…nice…there”

After those initial little flashes in the previous hour, FROM Season 4 Episode 8 sees Henry’s visions getting more detailed, longer, and more tempting. Now, that hospital is a place he desperately wants to be real. Initially, he tries very hard to keep himself busy and stay away from the alcohol so his mind can be clear—so he can stay in his present, FROMville, reality. But all it takes is one thing going wrong (Bakta dropping a basin of dishes) to send him right back to the place where Victor wears a shirt and tie, and has a son, and isn’t that traumatized little boy who lived off nothing but canned peaches and the imagined voices of his dead mom and his sister.

It’s fascinating watching Scott McCord play that other version of Victor. That’s especially true in an hour where he’s explaining to Ethan how to endure long enough to become the person we know and love. He’s broken, tragic, and has so much difficulty relating to others, sure. But he’s our Victor. In those visions, though, he’s decidedly not. He’s happy, unnervingly so, because he didn’t grow up lonely and scared. His sister lived. Sure, his dad’s been hospitalized all these years thanks to a bad trip and all, but that’s “normal” trauma. And so, he’s grown up “normal.” Whatever that even means.

Notably, nobody really mentions Miranda outside of her surprising Henry with the drugs. Eloise, sure. Victor’s son who never existed out here in the FROM world, of course. Miranda…not so much. That has to mean something.

Although this entire cast continues to kill it, it’s Robert Joy who has the performance in FROM Season 4 Episode 8. He has to hit both the confused, slowly-emerging version of Henry in that dream world, as well as the unraveling Henry in what (as far as we know) is reality. And when he reaches the most emotional point of the hour…what else is there to say but wow?

Joy throws himself into what is a deeply, deeply emotional series of moments with complete abandon. He holds absolutely nothing back, as Henry shares his confusion—his inability to decide what is and isn’t real—with his awe over what that other world looks like, and his grieving, desperate, broken pleas for Miranda to help him go back. Every single choice Joy makes—from the way Henry clutches the back of his head here, to a hushed and cautiously hopeful “could they be real” there, and seriously, every split second in between, before, and after—is brilliant.

But at the very end of Henry’s time by that grave, after he’s thrown abruptly into this reality and seems to be trying aimlessly to claw his way back to the other, Joy takes what’s already a massive well of emotion and digs impossibly deeper. As Henry begs “Miranda please,” whimpering and falling to his knees, the high-pitched “help me, please!” that comes after it is stellar. And then…and then…there’s that awful, pained wail that he draws out. It may as well be endless, that sound. The despair that opens up and sucks Henry down, down, into it may as well be infinite. Infinite, too, is that level of talent on display.

Just insane. Wow.

MORE: Robert Joy and Scott McCord on building that alternate reality and Henry’s “existential dilemma.”

More FROM Season 4 Episode 8 reactions

“Hey! Will you just take it outside!” Love that frustrated gesture from Donna when she overhears what I’m guessing is about the billionth fight in the last 24 hours.
“People are just starting to realize the talismans won’t protect them against everything.” I mean, how much turnover in the Colony House residency has there actually been since the night of Fatima’s ceremony?
“Did it work?” “…no.” “That’s too bad.” Sure, Sophia.
“Victor always said that the pictures remember. So, when everyone dies and I’m here by myself, I don’t want to forget anyone.” Ethan is forever just…saying things without sugarcoating them. He’s also just sure Victor’s right about him being next, which speaks to his giant imagination and how much he trusts Victor in general.
“He said I need to be prepared. So, I’m getting prepared.” What a reaction shot of Catalina Sandino Moreno there. Hearing Ethan even consider this totally breaks Tabitha’s heart.
“…what am I looking at here?” “It’s—it’s a model! Of the tunnels!” “I understand that. But why is having a model better than drawing a map?” That line reading from Perrineau had me cracking TF up.
Actually, this whole interaction had me cracking TF up. Jade’s out here, pouting and fidgeting and frustrated on that “I put a lot of work into this.” And Boyd’s just hollering because he’s like WTF on the “hey! It’s not a f**king science fair, Jade.” Then, we’ve got Alpay throwing those hands up, and the quick “oh, for f**k’s sake,” and that single clap that comes together in, like, prayer position…Jade’s so irritated. Typical smart guy, tired of explaining sh**, can’t find his patience.
“All right. You know what? This model!” 10/10. No notes. Absolutely none.
“Well, given all that, I got a few different scenarios for how we can do this, ranging on a sliding scale of safety and complexity…So, you want to hear the simple but super dangerous ones first? Or should I start with the safer but more complex, and possibly impossible, ones?”
“You need to do better.” “How?” “I don’t know. I’m not the genius. Figure it out!” “Sure. While I’m at it, why don’t I just build a f**king hot air balloon and fly us all out of here?” It’s the way Jade’s both trying to sass back and kinda giving up for me. Also, Boyd’s fast-blinking as he turns for the “that’d be great.”
The way Perrineau WHIPS that head around when Boyd hears the gunshot! I bet he had a perfect spot for pirouettes back in his DTH days, huh.
It might be easy to overlook, given some of the other scenes he has in this hour. But when Henry first walks into that diner, Joy is great. Just a drowning man, begging for a life raft. “I need something to do. I’ve been, uh…well, I’ve been drinking a bit lately. I think it’s starting to—…anyway. I figured if I could keep myself occupied?” Poor guy can’t even actually just straight up ask for a job. He’s a mess. And the shaky, rough quality to Joy’s voice here is everything.
A Season 3 flashback! “That tape’s been stuck in there for years. It was Miranda’s favorite song.”
Oof. The profound reaction Henry has in the present timeline.
But why is “she” waving at Ethan? And why is Ethan waving back? Get a job! Stay away from him!
I’m completely fascinated by how Victor hesitates and lingers over his drawing before covering it.
Tabitha is, once again, acting out in denial. Worst version of her or worst version of her? Like, I get it. This is scary, and hearing your kid just…accept that he’s doomed is heartbreaking on an impossible level. But like. All this loud, rushed trying to convince herself it’ll be different this time has a time and a place—here, with these boys, making Victor think you’re mad at him and he’s done something wrong is not it.
“I, uh…not seeing any internal damage.” “With all due respect, you didn’t see the baby either.” We all heard the silent “which is none” in Ellis’ “with all due respect” there, right?
Fatima’s irritated sigh and eye roll, though.
“Those things. You said they used to be human. When you did the autopsy, you said all the organs inside were human. I—is it…possible that I am turning into one of them?” Ghafoori’s nailing that fear here.
“Kenny is alive because of this. She saved his life! Maybe stopping it is not what we should be focusing on.” Tag yourself: I’m Fatima’s “b**ch, are you effin’ crazy” look.
“What’s not temporary is the fact that someone who would otherwise be dead is walking around today because of what this allowed Fatima to do. Ok? Can you not see how this might be helpful?” I mean, why would life be “not temporary,” though???? I get Marielle’s point, but that was a weird choice of words.
“No, I can’t see how it can be f—ing helpful.”
Super moment from Alpay when Jade, like, goes off on Kenny. The way he points at his head and gets in Kenny’s face, and is so tense…that’s the good sh**.
“Yessss. And the image of that chamber is seared into my f**king brain! There’s one entrance—that’s it! There’s no version of this where we go spelunking and realize ‘oh, hey! There’s a convenient exit we didn’t see before!” The sarcasm, the mockery of the total concept…
When Jade’s hands come together like that, you know he’s trying really hard to stay sane. And losing.
He’s begging Kenny to help get through to Boyd, even after just dismissing him. Ouch. Dude’s all over the place here.
I also really enjoyed how Ricky He approached this. There’s something almost dead in that tone on “sooo you want me to go to Boyd and tell him that he just needs to accept the fact that people are gonna die?” Same kind of directness and trying really hard to cut through the BS with “I’m not doing that.”
Meanwhile, Jade’s in agony, thinking about losing again: “Well, then, we’re not F—ing going home!”
“Let me guess: You’re going to be one of the people going down into the tunnels. Making the hard decisions.” If looks could kill…and if that pointed finger, with that sharp motion, could suddenly turn into a dagger.
I, too, would like to break some sh** to deal with my feelings.
“Look: Give me a pill. I don’t know. Give me a bandaid. Something—I—a—anything…” Harold Perrineau, folks.
Check out angry, evil AF look from Julia Doyle when “Sophia” can’t find that suit…
She’s over-acting that fear here, but Sara doesn’t notice because she’s too kind and hates being isolated from everyone, huh.
“Sometimes, I ate other things. Plants and…bugs. That was only if I had to.”
It’s so rare for Victor to be completely direct, to look someone right in the eye and just get those words out. But when he tells Ethan about loneliness, he controls and stills himself—masks—as much as possible to make sure his message, and its gravity, gets through. What a moment.
…and, with Victor filling that adult mentor role here, it’s a strange sort of parallel to him being a dad in Henry’s visions. Like, he has that capacity. This place may have ripped the possibility away and may have forced him to bury a lot, but it’s still there, somewhere.
“Ethan, the worst parts is when you get lonely. Everything is..scarier when you’re lonely. So, you have to pretend you’re not alone. That was the second thing that the boy in white told me.”
Very much broken after watching McCord’s gentleness and reverence, as Victor smooths the clothes on those dolls out and holds the Miranda stand-in’s hand.
“Ethan, listen to me. You’re never going to be alone. I will never—ever—let that happen to you. And I swear to you, I’m going to get you out of here.” “That’s what my mom thought, too.” Yeah. That part.
The final, lingering shot of that teddy bear and makeshift doll? Also broke me.
That faraway, hazy gaze is totally what you’d see in a hospital with someone that sick.
Speaking of directness and Victor: Vision Victor is so sure and steady.
“Stay with us. Ok?” SO MUCH EMOTION.
…these closeup shots, though? Not a normal way to see and interact with your loved ones, eh?
“No. You don’t.” That scoff!
That’s the drawing from the opening credits, huh.
This entire fight between Marielle and Kristi: First off all, it hurt me, personally. But second, Kaelen Ohm and Chloe Van Landschoot are great here. There’s this strength to what Van Landschoot brings, yet Kristi is most definitely trying to keep herself under control and not make the fight any bigger than it already is. And Ohm, like, scoff-laughs on “I’m sorry if my timing was inappropriate” in a way that just works.
When Mari appeals to Kristi and is so open about how she just wants to go home, that tiny pause Van Landschoot takes before Kristi responds with that “so do I” speaks volumes. It doesn’t sound convincing (even without the wait), and I really got the impression Kristi doesn’t even know if she’d be able to function outside of this place anymore. Or, like, Mari’s offering this dream, a lie Kristi’s long since stopped believing in.
“Yeah, just, uh, let me know if you want me to change anymore sheets or anything.” …that is a very “F you” tone and expression.
Snort-laughed at Jade muttering to himself like this, actually: “There’s only one way in or out. ‘That’s a shooting gallery! I was in the army.’” (Boyd impression could use some work, maybe, though.)
Alpay’s “holy sh**” line reading. AWE.
“I don’t know, Kenny. Maybe the guy it belonged to got tired of walking around naked in the woods. I don’t know.” FROM is a very serious show, ok!
I got breathless just watching this man race in here.
“You take the suit?” “The what?” Adorkably confused there.
“She tried, Victor. She tried so hard. I know because…I feel what she felt. I know how much she loved you. And how badly she wanted to take you home. She just…didn’t have the answers she needed. But I do. I have them because of her. She’s the one that led me to the tower. To your father. She’s the reason why you get to go home…I don’t think I came back just to free the children—I came back for you, Victor. I’m gonna take you home.” See, now, this is the Tabitha I like. So much heart.
The pain on Victor.
Beautiful, beautiful couple of moments from McCord. As Tabitha’s talking about having answers and wanting to save Victor, too, you can watch that fragile, hesitant hope just bloom. Then, the time he spends gazing at his hand after Tabitha releases it…He hasn’t had a mommy hold his hand like that in 40 years!
“You wanna…cut down the tree?”
I might actually be obsessed with Jade’s impression of a cork popping out of a bottle. Where are the gifs???
“You—you asked for a solution to an impossible problem. I am serving it to you on a godd— platter. Now you’re asking for a Plan B?!” Incredible reading. Also loved the way Alpay holds those hands out like the GD platter in question.
“LANDSCAPING IS NOT A PLAN!!” “Landscaping. F— YOU!” “Great! We’re done here!” They both snapped, ok? Entertainment value: Immeasurable.
“It seems like me getting my brain fried on that acid makes a whole lot more sense than, well, any of this.” Super detail with the lost, little gesture on “well any of this.”
…but did no one ever tell Henry that truth is stranger than fiction???
So gorgeous up there. The lighting, the colors…gorgeous.
“Could I really be so…lost? All that time?” So much conveyed by that tension when he clutches his head like that…
“Or…did I come all this way…so that I could find a way…to go home?” The grief!
“If it’s true..home…”
So, this is what a happy Victor would be, huh? Or is it.
“You have to forcibly disconnect from whatever is anchoring you to that version of reality…you have to eliminate the anchor.”
“This is where you make your stand. And it’s not about saving everyone—it’s about saving as many as you can. When you shot Abby, you saved Ellis. You go down in those tunnels, collect those bones, yeah. You’re probably gonna lose some people. But you could save a whole lot more. So, suck it up, make a choice, and live with it.” People have to make decisions like this all the time. A real leader agonizes over it the way Boyd’s been doing instead of emotionlessly doing the math and not thinking about the actual humans…but then, a decisive choice does get made.
Those drawings. “Maryell.” And Alma the goat!
You know when the score turns dark like that, it’s about to get, well, dark.
“I wasn’t sure you would. You know who I am? Ohhh. You haven’t remembered that part yet. You know, your husband died right where you’re standing. Jim was so brave. I really liked him. I kept one of his teeth, you know.” Purely diabolical. But at least he’s consistent. Pretty sure he did, in fact, tell Jim he liked him and was sad he’d be missing his “favorite part” of the story, so…
Tabitha shrinks against that RV and tries to make herself disappear but can’t.
“Kill you? Heavens no. We’ve been through so much together, you and I. You’re as close to a friend as I ever had. You and Jade? You’re doing so well this time. I wouldn’t dream of killing you. Not yet.” Got chills when the Man in Yellow caressed Tabitha’s face. Anyone else?
Also: That drawing Victor made of the Man in Yellow with his mom…kinda not how you should treat your friends. Just saying.
I have so many questions and at least 10 times as many “ew, WTF” thoughts.
The bright tone alone…so at odds with all that evil, which makes him so much scarier.
I think he’s as interested in seeing how this plan works out as the rest of us, though???
That silly shrug and icky, little kiss to Tabitha’s hand???
“Hm. This was really nice. I really have missed you. I’ll see ya soon.”
What’s he singing to himself???