Follow Naomi Watts down the rabbit hole
Credit: Alison Cohen Rosa/Netflix
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You’ll want to think twice before booking a session with this therapist. Naomi Watts is causing trouble in Netflix’s new psychological drama Gypsy, and we’re recapping the whole 10-episode first season right here, one page at a time. Follow along as you watch — and remember: No matter what Jean says, you’re in control.

EPISODE 1: “The Rabbit Hole”

“There’s a force more powerful than free will — our unconscious. Underneath the suits, behind closed doors, we’re all ruled by the same desires. And those desires can be raw, and dark, and deeply shameful… The more you watch someone, the more you realize we’re never really who we say we are. In fact, hidden underneath, there’s always a secret: We might actually be someone else.”

The glossy Gypsy isn’t the subtlest show. That’s immediately clear from Naomi Watts’ opening voice-over, which paraphrases Freud (because that never gets old). As the heavy-handed and foreshadowing monologue plays, we follow Watts as she travels from Grand Central station to a coffee shop named The Rabbit Hole. And yes, she descends into it, because this show may be a very, very slow burn, but it has absolutely no chill when it comes to its imagery. The point of all of this: We’re about to follow Watts down a dark and twisted hole.

Watts, who gives an alluring performance, stars as Jean Holloway, a Manhattan therapist who appears to have it all. She lives in a nice home with her successful lawyer husband Michael (Billy Crudup) and their 8-year-old daughter, Dolly (Maren Heary), who’s pushing the bounds of gender conformity. If you peer beneath the surface, however, you can see that there’s more going on with this couple. Not only is Jean worried about Michael’s hot, young assistant, Alexis (Melanie Liburd), but she’s annoyed with him because he pushes their vacation back. In the premiere, you get the sense that she’s generally unfulfilled by her life at the moment, which doesn’t mix well with the fact that she also has boundary issues when it comes to her patients. (Just in case you couldn’t infer that Jean has boundary issues, there’s a shot of Jean underlining and circling the word “boundaries” in her session with helicopter mom Claire, played by Brenda Vaccaro.)

Jean steps beyond the bounds of her job in the pilot when she pursues a relationship with the free-spirited Sidney (Sophie Cookson), who just happens to be the ex-girlfriend of her patient Sam (Karl Glusman), who started seeing Jean because he was still not over the breakup. Now, Jean has decided to seek out Sidney — maybe because she’s curious, maybe because she’s looking for excitement, maybe for a reason that has yet to be made clear. To get Sidney’s attention, Jean orders white wine in the middle of the day; Sidney gives her bourbon instead. They start making conversation, and Jean adopts the persona of “Diane,” the name she’s been using when she orders. She claims to be a freelance journalist.

“You’re not our typical kind of customer… It’s actually kind of hot,” notes Sidney, who promises not to forget her name.

That night, Jean suffers through a mundane dinner with her husband and some of their bland but wealthy friends in suburbia. Even though Jean has only just started down this destructive path, her two identities start to bleed together as Jean shocks everyone at the dinner table by asking for bourbon instead of sticking to wine. After dinner, she steals a sheet from her host’s prescription pad, which may have something to do with one of her new patients, a drug addict.

A drunk Jean asks Michael to drive her to the train station so she can go to a housewarming party for her coworker, Larin (Poorna Jagannathan). Obviously, that’s a lie; she ends up at a club where Sidney’s band is performing. Jean can’t keep her eyes off Sidney while she’s onstage, and afterward, the two of them get a drink at an intimate bar and talk about their lives. As Sidney opens up about her father being in prison and how clingy Sam was, director Sam Taylor-Johnson does a very good job of capturing their mutual attraction and burgeoning connection, and the scene builds to the moment when Sidney remarks that Jean/Diane reminds her of herself. That’s partially due to the fact that Jean went out and bought the same perfume Sidney wears, as any normal person would do. But alas, their night together comes to an end at the bar, and Jean returns to Connecticut and spends the night trolling through Facebook.

The next day is a busy one for our slightly unhinged therapist. First, she stops by the Rabbit Hole to see Sidney, only to immediately run when she sees Sam is there. This is the first time the episode has had any sense of dramatic tension. After a session with Claire, Jean heads to a hair appointment, where she meets a woman who is strongly implied to be Claire’s daughter. (Jean’s at it again!)

Jean returns to work with a new hairstyle — which probably symbolizes another change in her identity — for a session with Sam, who tells her he met with Sidney that morning. As their session unfolds, Jean uses what she learned from Sidney the night before to push him, even hinting that Sidney may be into girls now (which Sam denies). And that’s when we come to the episode’s disappointing cliffhanger: Sidney lied to Jean (or Sam?) about her father. According to Sam, Sidney’s dad is not in prison; he’s dead! Uh-oh! What does it mean? Do we care?

Gypsy‘s premiere spends most of the hour introducing its concern with identity. That’s clear from the new persona Jean adopts in the episode and the many shots of mirrors, which reminded me of Ali Larter’s character on Heroes — who, coincidentally, had multiple personalities. However, it dives into the material in the sleepiest way possible. There’s very little sense of urgency in anything that happens here, though that may be by design since Gypsy is being sold as a psychological thriller. Perhaps it’s lulling us into a sense of security before hitting us with the thrill. Hopefully it gets there soon, because what interest I have in diving further into Jean’s psyche is entirely due Watts’ engrossing performance, and not the writing.

Honestly, the most surprising thing about Gypsy is that the premiere doesn’t go out of its way to explain the show’s title. I still don’t know what it means, and at this juncture, that might be the most intriguing mystery of all.

Most Unprofessional Therapist Move: Flirting with her patient’s ex-girlfriend and lying about her identity.

Patient Notes:

  • I would complain about the blandness of Crudup’s role, but I think it’s fair to give the show some time on that front, since the premiere is largely concerned with setting up the many players in Jean’s world and preparing us for how her questionable decisions will affect them.
  • Dolly asks her parents what “sexy” means: another unsubtle moment, given her mother’s current obsession with Sidney.

Episode Grade: C+

Chancellor Agard
(Click ahead for episode 2)

EPISODE 2: “Morgan Stop”

It’s rather easy to make fun of Gypsy at this point. With its glossy filmmaking and clunky dialogue (“People tell stories that aren’t true.” Duh!), it feels like it desperately wants to be a prestige show. But to the show’s credit, it is doing a few interesting things at this point in its run, specifically with its approach to Jean’s motives. While I still find most of it frustratingly dull — someone needs to put out an APB for this show’s sense of dramatic urgency — I’m somewhat intrigued by the explanations offered in episode 2.

At the top of the hour, Jean meets with Sam, who is doing slightly better these days after grabbing a drink with Sidney. This news clearly bothers Jean, who has been waiting to respond to a text from Sidney. Jean perks up the moment Sam says that Sidney mentioned some woman, and she decides to give Sam a new homework assignment, which she says may seem extreme but is typical for dealing with addiction: She forbids him from contacting Sidney. “Even if it feels good, it’s not the solution,” she counsels. Director Sam Taylor-Johnson invites us to question and deduce Jean’s motives with close-up shots of her face in the scene. Does she actually have Sam’s best interest at heart? Is she trying to get rid of her competition? Is this assignment also for her? In the moment, Watts is compellingly inscrutable, even if the scene’s execution is rather dull.

While Sam struggles to stay away from Sidney, Jean continues to cautiously pursue her. Sidney gives her a tour of the Rabbit Hole stock room, which is as interesting as you think it is — meaning, it’s not. In the scene, Jean reveals she’s so interested in Sidney because she wants to know what it feels like to be her. Sidney is a free spirit, seemingly beholden to nothing except for her own desires. Jean’s clearly bored to death dealing with two-faced suburban mothers and finds Sidney’s lifestyle rather alluring. Sidney invites her to a party in Brooklyn, but she has to say no (because she has to get home to her daughter).

Jean seems to be trying to keep Sidney at arm’s length, so she tries to inject some excitement and variety in other aspects of her life — even breaking away from her routine to (gasp) cook beef bourguignon for her family instead of spaghetti. Unfortunately, Michael has to work late, thus thwarting her efforts at spicing up their life. Later in the episode, she visits her coworker Larin’s apartment, and when she’s ready to leave, she calls Michael to see if he wants to meet up so they can head back to Connecticut together. But, alas, Michael is too busy having a flirty dinner with Alexis and working late. So, Jean asks Dolly’s babysitter to stay later and goes out with Sidney.

Jean and Sidney get really close after Jean questions the story Sidney told her about her father. (Sidney claims she told Jean the truth and is lying to Sam and to her friends.) But their hot and steamy moment on the dance floor is ruined when Dolly FaceTimes her mother. Believing Jean’s claim that Dolly is her niece, Sidney grabs her phone to say hi, which sends Jean off the rails as she worries she’ll be exposed. The threat of Jean’s two lives crossing is supposed to be suspenseful, but the show doesn’t do anything exciting with the moment. Jean just yanks the phone away, calls Sidney selfish, storm out, and heads home to Connecticut.

The other major development in the episode is that Jean has also made contact with Claire’s distant daughter, Rebecca (Brooke Bloom). Jean gets another blowout as an excuse to have a conversation with Rebecca, who complains about her clingy mother. Unlike the situation with Sam/Sidney, it seems as though Jean thinks learning more about Rebecca will enable her to better help Claire, who has been questioning the value of therapy. Jean feels as though she can’t trust anything Claire says, but her coworkers reminds her that it’s her job to just work with what Claire brings into the room, which she’s clearly not a fan of doing.

What’s frustrating about Gypsy is that its goals are at odds with its execution. The show clearly wants the audience to derive some illicit pleasure out of watching Jean’s reckless behavior; that’s evident from the occasional voyeuristic cinematography (for example, the way the camera creeps through Jean’s home at the top of the hour). But, right now, the actual story isn’t following through on the promise of the filmmaking. It’s all flash and very little substance, although the show clearly believes that it’s very insightful. Something needs to happen!

Most Unprofessional Therapist Move: Jean goes to a club with Sidney.

Best Line: “Do you think G.I. Joe has beautiful hair? No!” In all seriousness, Jean’s tomboy daughter Dolly is my favorite part of the show so far.

Episode Grade: B-

Chancellor Agard
(Click ahead for episode 3)

EPISODE 3: “Driftwood Lane”

Jean’s life has gotten a little complicated, to say the least: She has to deal with Dolly’s friend Sadie’s Big Little Lies-esque mom Michelle (and steal her pills), talk helicopter mom Claire out of worrying herself over every single one of Rebecca’s moves, and, most of all, keep her own mom (played by Blythe Danner) off her back.

No wonder Jean wants to spend a night out — but even an “adventurous” night with Michael can’t cure what’s really on her mind, ahead of all the mommy issues. She’s still got Sidney on the brain, and no amount of flirting with Michael or playing footsie with Michael or trying new places with Michael or even talking about infidelity with Michael can tear Sidney out of her mind. And so, that night, she finally takes control by doing so in the bedroom. When you can’t steer your mind, you might as well use your body, right?

Jean knows this, because she explains all this to Sam, who sees her the next day about how he can’t get Sidney off his mind. The more you try to stop thinking about something, Jean says, the more you think about that something. She offers Sam a way out: a signed oath to not talk to Sidney or do anything that would compel him to go back to her. It’s a selfish move on Jean’s part — Diane doesn’t want any competition — but it’s also helpful to Sam.

Next up for psychoanalysis: Claire. Last time they met, she told Jean she wanted to end the sessions, but now she’s back, and she’s brought a letter. “I know we’re not friends,” she says, voice shaking, “but I really value our relationship, Jean, and I’m hurt.” Jean accepts and doles out more advice, saying that it’s important not to place too much pressure on Rebecca. Claire just smiles, asking how Jean feels her own daughter. Jean, knowing not to divulge too much to her wired patient, tells a little white lie, calling Dolly’s upcoming bash a “princess-themed” and “typical 9-year-old girl party.” She compels Claire to come clean to Rebecca about all her feelings of abandonment, and Claire almost does — only to find that Rebecca moved out of her apartment six weeks ago without telling her.

The episode then inexplicably shifts to Jean’s fractured relationship with her mother via flashback and clunky dialogue. “You just don’t get me do you?” Slightly Younger Jean whines to Mom. “That’s not who I am.” So who is she? The scene doesn’t offer too many answers: It looks like Jean and Michael have had a more difficult relationship than they let on, and Jean’s mother had seemed overbearing to her at the time because she didn’t want Jean to be alone. Jean, on the other hand, had watched as her mother got married to another man — we learn this through another flashback — and appears to have resented her for not telling her first about being engaged. The flashbacks end there, but I’m guessing Jean’s mom’s love life will resurface soon.

The rest of the hour picks up the pace by centering on Dolly’s birthday party, where several threads finally converge: First, Jean finally meets Michael’s bombshell assistant Alexis and gets quickly thrown by how close she appears to be with her boss. Second, Jean’s mom shows up to the bash, stressing her out further. And finally, Dolly choppily cuts her hair just before the party begins, which prompts a snarky remark from Michelle behind Jean’s back (but within earshot) about how annoying it would be to have a separate bathroom built for a kid like Dolly.

All of this sends Jean over the edge, and she lashes out at Michelle for her insensitivity while also berating herself for trying to impress her rival suburban mom. She walks away with a glass of wine, seemingly on top — only to later have another showdown, this time opposite Michael. It gets ugly, as Michael thinks Jean didn’t need to ruin Dolly’s party by having a fight in the middle of it, while Jean thinks she had to stand up for her daughter — and besides, she was the only one who could, considering how Michael was off flirting with “little Miss Alexis.” At that, Michael sums up the show in one all-too-obvious line: “It’s like you’re a completely different person lately,” he moans.

He’s not entirely wrong. After cleaning up, Jean starts thinking of Sidney again, and with all the distractions of the day, she just wants to go back to playing Diane. And so Jean scrawls a note about a work emergency, leaves the cake outside of the fridge, and walks out the door.

It’s a dramatic grace note to the episode, but it comes too late. Gypsy’s episodes so far have all suffered from a failure to keep up an engaging pace. Most of it is because there’s just too much that happens, all of which serve no purpose other than to drive home the point that Jean’s life is messed up. (Think Dolly’s encounter with the magician and Jean’s conversation with Allison.) The problem is Gypsy has no understanding of subtext. Its lines spell out the show’s thesis with all the subtlety of a hammer to the head (see: “There’s something about you that reminds me of me” and also everything else that comes out of Sidney’s mouth), while the events in Jean’s dual lives parallel each other so perfectly, you’re less suspicious of her endeavors and more sure the writers thought their viewers would be too daft to understand their plot. At least this hour offers Blythe Danner and some wine-fueled suburban mom drama to add some sparks. If only the rest of it could ignite, too.

Best Line: “If I lose you to your assistant, I’d be mad at you for making me a part of a cliché.” Jean has other one-liners in this episode (“If you don’t look suspicious, people never suspect anything”), but this one shows (not tells) us her character, especially when Watts’ voice cracks with emotion midway through.

Most Unprofessional Therapist Move: Giving Sam a signed oath not to interact with Sidney — not out of altruism, but out of jealousy.

Episode Grade: C

Shirley Li
(Click ahead for episode 4)

EPISODE 4: “309”

Yet again, Jean lied. Of course she didn’t leave her house in the middle of the night for a work emergency: Instead, she left that night to play Diane again. She heads to an outdoor showing of The Lady Eve, the 1941 comedy about a female con artist (get it?), with Sidney, and the pair gaze at each other lovingly throughout the date. It’s a stark contrast to her movie night at home, in which she must endure Minions while sitting on the opposite side of the couch from her husband and daughter.

No wonder she spends the next day with Sidney, as well. At the Rabbit Hole, she basks in Sidney’s curiosity about her age, her work, and how “strange” she is, then coasts on that to ride out another session with Claire, who’s freshly pissed off at Rebecca for not telling her about her move. “You don’t lie when you’re not doing something wrong,” she says in her session, throwing Jean off just a little bit because the comment hits so close to home.

With her interest piqued, Jean investigates Rebecca’s sudden life change and goes to get another blowout. There, “Diane” plays nice with Rebecca and learns that she’s moved to live in what sounds like a co-op, where she’s happy to be free of her mother and of that control. But when Claire calls during their chat, “Diane” encourages Rebecca to pick up and tell the truth, and when Rebecca’s conversation with Claire doesn’t result in tears and total estrangement, Rebecca thanks “Diane,” inviting her over for dinner one day.

Jean, though, isn’t as lucky. She picks Dolly up late from school, then gets sneakily confronted by Michael at home. He tells her he needs help figuring out which employees are lying in his case, but turns the table quickly by interrogating her about the other night when she left. She, of course, lies, and shakily makes her way through the conversation by smiling and offering just enough information without sounding like she’s embellishing anything. He appears to buy the story of her meeting a patient at the Rabbit Hole for now. “If you only had more secrets, I’d be so on to you. I could totally crack you,” he says in a hint of a threat.

She doesn’t appear afraid, but later that night, Jean dreams of telling Sidney to “stay the f— away” and wakes up teary and unhappy. The feeling carries over into her session with Sam the next day, during which she’s dismayed to learn that he’s heard from Sidney and is eager to see her for dinner. Annoyed, Jean twists Sam’s words and convinces him that he’s deluding himself, making him cancel the dinner — and then (surprise, surprise) making plans to meet Sidney herself.

Before she does, we get another tidbit on Jean’s past as a therapist. A former patient of hers, Melissa Saugraves, who allegedly got obsessed with her, ended up burning her house down and blaming Jean for it — a “classic borderline,” Jean says dismissively, basically hinting that Melissa’s story might be true after all and, ugh, Gypsy might as well flash just a neon sign over this scene that says “THIS ISN’T THE FULL STORY.”

Anyway, Jean goes back into Diane the Journalist mode to meet with Sidney and immediately starts prying into Sidney’s thinking with Sam. She accuses Sidney of kicking people to the curb and holding too much power, and she betrays a slight smile when Sidney asks to learn more about Diane in exchange. Jean gives up very little about her life, but it’s enough for Sidney to lean in for a kiss, which makes Jean sit back — whether out of fear or guilt is unclear — and prompts Sidney to ask whether she’s been with a woman before. Sidney smiles at Diane’s inexperience, but before they can chat more, Sidney gets a text from Sam, who’s about to arrive at the cafe to pick up some of his things. Scared, Jean immediately gets up, chides Sidney for her “inappropriate” actions, and runs out of the cafe just before Sam reaches it. Now who’s kicking people to the curb, Jean?

Meanwhile, Michael’s getting close with someone other than his spouse, too. He’s invited Alexis to tag along to a coworker’s birthday party, and the two can’t stop flirting at the bar. It’s clear they’re into each other: Alexis looks through Michael’s phone when he heads to the men’s room and is dismayed to find shots of Jean, while Michael asks Alexis to stay for another drink when Jean texts about another work emergency. Alexis teases him about his failure to understand Tinder, he teases her about her “feisty” glasses, and they even talk about previous relationships: Alexis broke up with a man who went back to his ex-girlfriend and got married, while Michael had dated a woman named Catherine while on a break with Jean.

When they call it a night, Alexis makes a move: After scrolling through her photos of Dolly from the birthday party, she accidentally reaches an alluring shot of herself in a bra and panties — and though they brush it off at the time, Alexis eventually sends him that photo along with the ones he wanted of his daughter. When Michael sees it, he doesn’t delete it.

As for Jean’s work emergency? This time, it’s not a lie. She’s been calling Allison throughout the day after the troubled teen missed her appointment, and now she heads to Allison’s boyfriend’s apartment to see if she’s okay. Jean’s instincts were right: Allison isn’t okay, having locked herself in the bathroom after her attempt to rid her boyfriend Tom of drugs ended up getting violent. Jean comforts her, telling her she’ll always have options outside of this relationship, but Allison’s discouraged — she has no other friends she can live with longterm, her mother hates her, and she’s thrown away the “bright future” she was once told she would have.

Hearing this, Jean softens and finally says something true: She tells Allison that she’s made mistakes, too, because sometimes it’s easier to live for others than to know how to live for yourself. She’s helping Allison come to terms with where she is, but she’s also realizing something about herself, and so later that night, Jean doesn’t head home, but instead to an apartment in the city. She has the key, finds the apartment empty, and gazes at a photo of herself in sunglasses on the windowsill. But wait, whose apartment is this? And if it’s hers, why does she have it? And is that really her in the photo?

These new questions are intriguing, and though the pacing remains stilted, the dialogue still too on the nose, and the patients’ subplots blandly cliché, this hour pulls back the curtain on more of Jean’s weaknesses, which helps move the story forward. Her plan to fold herself into a new persona is unraveling bit by bit, and a major blind spot is her belief that she’s the only one in her marriage with secrets. And when those secrets finally come out into the open, well, that’ll be quite the narrative for a therapist to unpack.

Best Line: “Indigo barely exists. Really, it’s not the sixth color of the rainbow, it’s just kind of a fantasy.” Lines like this make me wonder: Have the writers of Gypsy ever heard of the Manic Pixie Dream Girl?

Most Unprofessional Therapist Move: Diane having Sam cancel on Sidney without giving him any chance to weigh his options or have a choice has to be the most selfish therapist move she’s pulled so far. She’s not your boss, Sam!

Episode Grade: C+

Shirley Li
(Click ahead for episode 5)

EPISODE 5: “The Commune”

In a major plot twist, Sam’s mustache is nowhere to be found when he meets Jean for their latest session — but perhaps more importantly, he reveals two new tidbits about Sidney. She’s recording a demo (which we later learn he’s funding), and they slept together after their last meeting. The latter we don’t discover until after Jean role-plays as Sidney, in a new method she suggests might help Sam remember the things Sid said to him.

The pleasure Jean gets out of the exercise is clear — after all, she’s been hoping to step into Sidney’s shoes since they met. True to form, Sam believes his and Sidney’s recent tryst must mean more than it does, saying, “Maybe this was supposed to happen. Maybe this is a new beginning.”

In the therapists’ daily regrouping/gossip session, Jean updates her coworkers on Allison, claiming she’s doing well — the opposite of the Allison we saw last time. One of the therapists asks Jean for her notes, thinking it might help him with his own “pill popper.” She agrees, and while in her files, she pauses to flip through the one for Melissa Saugraves, studying the restraining order Jean filed against her.

Now that she’s talked up Allison’s sobriety, it’s time to do something about it. Jean takes Allison to a Narcotics Anonymous meeting, where she convinces her reluctant patient to tell her story, noting, “Sometimes [strangers] are the only people we can be honest with.” Jean suggests Allison do a “90/90”: attend 90 meetings in a 90-day period. When they’re approached by leaders in the group, Allison introduces Jean as her mother.

Meanwhile, Sam and a friend are at a bar discussing the woes of dating apps when he runs into an ex, Emily. He tells her that he recently broke up with Sidney and admits their relationship was dysfunctional, which is at odds with how he’s just described the relationship to Jean. When he tries to apologize for hurting Emily, she quickly cuts him off. Can you blame her?

Later that night, Jean is ready for a verbal brawl of her own. She enters her bedroom to find Michael trying to sleep and gets on his case for not waiting to say goodnight (because she can party at clubs in Bushwick but he can’t get some shut-eye). He in turn asks about her supposed patient emergencies, and she debuts a new excuse for tomorrow: psych class. This does not seem to convince a skeptical Michael.

Rather than join her husband in bed, Jean starts rewriting her notes on Allison to give her coworker, hiding — among other things — the fact that she went to find Allison at Tom’s apartment. With that done, Jean gets back to stalking Sidney online, watching a video of one of her performances.

The next day, Jean interrupts Sidney at her rehearsal space. Sidney, who’s been dodging her texts, gives “Diane” a piece of her mind, pointing out her lying ways. “Diane” claims she showed up with the intent of having an “honest conversation,” to, drumroll, let Sidney know she can’t do this anymore. In a spiteful move, Sidney confirms that she and Sam did sleep together and declares that they’re nothing alike, because she dives headfirst into what she wants and Diane lets her fear get the best of her.

Facing dinner with Rebecca’s cult-y roommates might help with that. They encourage her to leave her phone in a bowl by the front door (“we like to disconnect in the evenings”) and tell her about the doctrine of Pure Honesty that fuels the home: “No shame is too large.” In her relatively barren room, Rebecca explains her need to sell her possessions and let go of the past. She recounts her mom’s manipulative ways, like when she bet a high school-age Rebecca that she could lose weight. “Diane,” awestruck, then opens up about Dolly’s “identity issues,” keeping up the ruse that Dolly is her niece. She chalks her “sister’s” avoidance of the situation up to fear.

After dinner, Rebecca’s housemates play a game wherein they each choose one of the phones in the bowl and read the most recent text for the group — what a fun and totally non-invasive activity! “Diane” panics when Rebecca picks up her phone, worried she’ll see her conversation with Claire from earlier in the evening. Since learning that Rebecca moved out and is selling her things online, Claire has been spiraling, worrying that Rebecca is suicidal. Even when Jean reassures her, Claire isn’t convinced. After all, how could Jean know anything about Rebecca?

To Jean’s relief, the newest message isn’t from Claire, but from Melissa, who wrote, “STAY THE F— OUT OF MY LIFE.” The housemates ask for context (rude!), but “Diane” keeps it vague. She seems uncomfortable, but she eventually thanks them for making her feel like a part of the group. “I guess I feel like I’ve been living my life as two people. And…sometimes that gets confusing, like, I don’t know which one is real, which one’s most authentic.”

Before heading home, “Diane” makes her way to Sidney’s rehearsal. When Sidney asks what she wants, “Diane” answers her with a knowing smile and a passionate kiss before declaring, “For the record, I’m not scared.” But she looks nervous when Larin spots her getting into her car and calls her name. Back in Connecticut, she responds to Larin’s texts by doing her best to pretend that she’s been home all night.

When Jean gets into bed, Michael, who knows she’s been watching videos of Sidney online, asks where she really was. He says he doesn’t want to be like the “divorced, struggling” men he knows. She agrees, and he reveals that he booked them a trip to the city, “a chance to reconnect.” They kiss, and all seems well, until we see the pained expression on Jean’s face.

Best Line: “I don’t know who’s in control anymore.”

Most Unprofessional Therapist Move: Rewriting her notes on Allison to fool her coworker.

Episode Grade: B-

Jami Ganz
(Click ahead for episode 6)

EPISODE 6: “Vagabond Hotel”

On Jean and Michael’s big Manhattan getaway, they sleep together after having drinks and role-playing as strangers (Michael an architect, Jean a songwriter named Sidney). Before leaving for work in the morning, Michael tells Jean, “I’m glad that we’re not those people.”

But Jean still isn’t in the mood to be herself; she meets the real Sidney for brunch at the hotel, claiming she was there to write a piece on an architect. She then goes with Sidney to run an errand — at what turns out to be Sam’s apartment. Sidney has decided their dog is hers, and she’s taking him back. Though she’s nervous, Jean looks around and stumbles upon a gun in one of Sam’s drawers. Jumpy, she leaves with Sidney in a hurry, running into an unhappy neighbor on the way out.

After taking Claire to a yoga class for their session — which seems to benefit Jean more than Claire — Jean comes home to see a shirtless Dolly wearing a boys’ bathing suit and chasing Sadie and another friend, a boy, around the house. She tells Michael that she’s worried life will be harder for Dolly. He brushes off her concern (“life is hard for everyone”), but she still seems relieved when Dolly tells her she doesn’t want to join The Super Boys Club, a friend group at school with a frat-like initiation. Dolly calls it “stupid.”

The next day, Sam comes in for an emergency session. He’s furious that Sidney “stole” his dog, and he ends his rant by yelling, “I could f— ing kill her.” Jean reminds him that she has to report if he’s a danger to himself or others, but he assures her that he “wouldn’t even know how to, anyway.” (How comforting.) It turns out his neighbor spotted Sidney and “Diane” leaving the apartment.

This whole ordeal has Sam in a less-than-ideal mood for his impending date with Emily. Jean suggests letting go of the incident with Sidney and of his dog (another reminder of her), and focusing instead on enjoying the date. The date winds up going well, despite some tension when Emily brings up Sidney. She thinks Sidney sucked Sam away from everyone else in his life. He tells Emily that he’s been seeing a therapist, which surprises her. Sam insists that Jean’s normal and “makes it enjoyable,” and Emily can’t help but ask if Jean is attractive, which Sam admits she is.

Meanwhile, Michael is busy reading a story Alexis wrote about her father and flirting with her about their upcoming business trip to Texas. Jean clears her work schedule on the days her husband will be out of town. She’s got Friday night reserved for Sidney, though she tells Larin she’ll be spending time with Dolly while Michael is away.

Larin is hurt not only that her ex, Darryl, has a new, young girlfriend, but that Jean never bothered to tell her. The fact that she still believes she saw Jean in the city and Jean keeps claiming it was her doppelgänger doesn’t help the situation. When the therapists gather to offer their opinions on a patient who might be a sociopath, things get tense between the friends: Jean says they “should reserve judgment,” and Larin suggests, not so subtly, that they should hold people accountable. Ahem.

Tom then shows up at the office to join Allison’s session, as she explains she’ll only speak with him in front of Jean. When Tom pulls from the abuser handbook to get Allison back, she stays strong, telling him he isn’t good for her. On his way out, Tom warns Jean that she’ll “get what’s coming.”

Later, Sidney and “Diane” meet up at a museum. Diane asks about Sid’s fallback, should music not pan out, and unsurprisingly, Sidney doesn’t have one. Diane insists it’s best to have some idea of where you’re going. Sidney kisses her to convince her to live in the moment, and Diane admits it sounds nice but argues that living in the moment is easier when you don’t have “responsibilities.” Sid asks if Diane does, as her “stories don’t exactly track.” She encourages Diane to be true to herself, because that’s all that will matter in the end.

As they walk the museum, “Diane” becomes disoriented and convinced she sees Tom. Did he put something in her food earlier? She tells Sidney to call Michael, but Sidney doesn’t know who Michael is. We cut to Jean on the train, on the way home — she receives concerned texts from Michael, as well as an update from Sam that his date is going well. She texts Sidney, thanking her for looking after her and adding, “You’re right – it’s the only way to live…” She looks out the window of the train and cries to herself.

Best Line: “It must have been my doppelgänger.”

Most Unprofessional Therapist Move: Being in Sam’s apartment, much less snooping around it.

Episode Grade: B

Jami Ganz
(Click ahead for episode 7)

EPISODE 7: “Euphoria”

Jean did not learn her lesson after blacking out in the Himalayan art section of that museum. She’s back in the city again, outside a club, smoking a cigarette. She saunters into the bar and sees Sidney walking toward her in a sexy red dress. Jean tells her about how Sam had described her in sessions and how she now totally understands Sidney’s seduction. And, oh, it’s a daydream, and she’s still outside the bar. Let’s try this again.

Jean walks in and orders a bourbon on the rocks, a classic Diane move, and meets up with Sidney, who is actually wearing a black dress. Jean tells her she is ready for the “full Sidney experience.”

Michael is broing out at the Texas hotel bar with Scott and Alexis after their case when Scott bails to go to Austin. Alexis suggests the two play Truth or Dare, and Michael dares her to go behind the bar and make them drinks. Michael seems turned on by the fact that Alexis may have her bartending license. Michael chooses truth, and Alexis tries to ask some off-limits questions: “If you were single, what would be the first thing you would do?”

“I don’t know,” he says. “That’s the truth.” Awkward. They keep drinking.

Meanwhile, Sidney and “Diane” are playing games of their own. They have left the bar and are now in Sidney’s very hip Brooklyn apartment — it has a hammock in the living room, okay? Sidney wants to get right to it, but Jean slows things down, requesting a drink and some music. They also begin to play Truth or Dare. Sidney wins the first turn and asks Jean why she approached her in the cafe when they first met. “Well, Sidney, I’m actually your ex-boyfriend’s therapist, and I’m obsessed with his life and by extension you.” No, kidding. Jean lies and says she was “intrigued.” Jean wins the next round and asks Sidney to dance, and she obliges. Next, Sidney wins and asks Jean how she would kill somebody. “I would use my mind,” Jean says. “It’s my best tool: reading people, words. I’d figure out their weakness and exploit it.” This is my idea of typical third-date chatter.

Jean starts talking about her “ex-husband” and his lover, Catherine, whom he was still seeing even after she got back together with him. Of course, Jean is talking about Michael, her real husband, and his real relationship with Catherine. “I went through every photo and every email and made him get rid of all of them. I tortured him.” Sidney then asks, “Was that Michael?” She remembers the name because Jean was mumbling it when she passed out at the museum. Jean is shook, but Sidney changes the subject.

Meanwhile, in Texas, Michael has dared Alexis to get into the hotel pool. She does, and he Navy SEAL-dives in after her, admiring her body underwater. Michael and Alexis get out of the pool and into some fluffy hotel robes. Alexis wants to stay up, but Michael is trying to go to bed. She convinces him to have one more drink, and he sees her undress in the mirror and is clearly conflicted.

If you thought this whole episode was just these idiots about to hook up, you might still be right. Sidney wants to get high, so she leaves the room, and Jean starts doing what she does best: snooping through drawers. She opens one and finds bullets. To a gun. In the drawer. They smoke together, and Jean says that she was always into men. They blow smoke into each other’s mouths, which is gross, and Sidney leaves her again. Jean is high as f— on the floor, hallucinating, and just realizing things. Mainly how she is totally getting sucked in by Sidney.

Jean asks Sidney why she dated Sam for so long. Sidney gives her version of Sam’s life, talking about his therapist, who is clearly not helping (ouch, that one’s gotta hurt, Jean), and how he’s seeing his ex, Emily. The revelation that Sidney knows about Sam’s therapist will probably be important.

In the hotel room in Texas, Michael admits to Alexis that he’s unsure about his marriage. Alexis seems very surprised by this, considering she’s already drunk, damp, in a bathrobe, with a married man, at night, in his hotel room. Michael then tells her about Catherine, too, and Alexis plays therapist for Michael as he recounts the carefree start of his relationship with Jean — when she wasn’t so oppressive. He admits that he needs her, but he says he’s not sure if Jean has any real control. I don’t know how Alexis can still be in the mood.

At this point in the scene, Michael and Jean are both directly addressing the camera, which is extremely jarring. It looks like a true crime documentary that was shot on an iPhone 7.

Sidney goes to retrieve a pizza she ordered earlier, and naturally Jean grabs her phone and looks through it. The latest message is from Sidney to Sam; it says, “I MISS YOU” with a cute selfie. Jean deletes that conversation and deletes Sam’s contact from the phone altogether!

Michael asks Alexis if she sent the nude with Dolly’s birthday photos on purpose. She says no, and then teases, “What if I did send it on purpose? What are you going to do about it?” Michael is just so conflicted. They find themselves side by side in bed. “I think you want this as much as I do, Michael,” Alexis says. Michael does what he should have done a while ago and politely kicks her out. Morning comes, and Michael catches a glimpse of Alexis coming out of Scott’s room and kissing him in the doorway. Girlfriend rebounds quickly, and that’s something to admire.

Sidney and Jean finally have sex, and in the morning, Jean is once again looking at herself in the mirror quizzically, perhaps wondering why she just cheated on her husband.

Best Line: “I can see the truth. Well, there is none. It’s all just perspective. Nothing is real except for what you see in this exact moment, which means you can’t taste the truth.” Jean, high as can be, giving us her spin on L. Ron Hubbard.

Most Unprofessional Therapist Move: Sleeping with her patient’s ex-girlfriend is a pretty big one, but I would argue that the most unprofessional thing Jean does is actually meddling in Sam’s relationship with Sidney by deleting his texts and contact off her phone.

Episode Grade: C+

Eric King
(Click ahead for episode 8)

EPISODE 8: “Marfa”

Jean and Michael are at some swanky silent auction, and Jean seems unaffected by her recent affair. But, you know, you have to have boundaries between your real life and your fake one. After being interrupted by Alexis, who says Texas was “uneventful,” they admire a truly heinous painting of a floating woman.

At home, Jean is in her basement or garage or someplace on the phone with Sidney, who wants to see her. Jean invites her to her Upper West Side apartment (which she is still somehow paying for on her salary) the next night. After some sexy talk, Sidney asks her for her last name, which, you know, she could use to Google all of these supposed articles Diane is writing.

“Hart,” Jean says. Sidney searches “journalist Diane Hart” and finds a lot of stock photos of anchorwomen. Surprisingly, she just lets that go and says, See ya tomorrow, pal. Jean starts touching herself.

Claire has had a breakthrough: She has been telling Rebecca that she’s working hard in meditation and therapy, and she says they have agreed to meet. Here’s the kicker: Claire wants to schedule a session for the both of them with Jean, who, you know, has been stalking her daughter. Jean, obviously trying to get out of it, claims she’s biased and can’t mediate. Claire is practically begging her, so Jean reluctantly agrees, but I can tell she has something up her cardigan sleeve. When the session is over, Jean leaves a voicemail for Rebecca, saying they need to talk.

Larin walks in and is furious — not because Jean has been lying to her, but because Jean missed her a capella show. Noticing that she has been absent, Larin thinks that Jean is cheating. Later, in Larin’s (cuter, if smaller) office, Jean admits that she and Michael are having issues. Larin says the couple needs to build up trust again after Jean “blurred boundaries” with Melissa. “But I was protecting Melissa,” Jean defends. “I couldn’t tell Michael anything about it. She’s the patient.”

At The Rabbit Hole, Sidney and Jean make out in the storage room, and Sidney says that she only found mentions of one “Diane Hart” in print. “It’s like you’re not a real person,” she says, and then takes out her phone and snaps a picture of them together. Jean is very upset and makes Sid delete it. She clearly doesn’t know about the recently deleted folder. Sidney does, in fact, still have the photo, and she stares at it curiously after Jean leaves.

Michael approaches Alexis and asks her if she spilled the beans. She denies it; what reason would she have to tell someone anyway? Apparently, though, there has been scuttlebutt. Michael decides to move her desk, even though that might make the rumors worse. Then he interrogates Scott about the “Alexis in Texas” rumor, after being tipped off by his boss. He threatens to tell Scott’s wife, Jennifer, about his infidelity if Scott spreads the rumor.

Meanwhile, Allison has relapsed and moved back in with Tom because she has nowhere else to go. Jean offers up a solution: Allison can stay at “Diane Hart’s” apartment in the UWS. Allison loves the terrible auction painting, too. “It’s just my job,” Jean says. But Allison knows that Jean really cares about her. “If I had a mom like you, I’d give it all up,” Allison says.

“Things with Emily are going good,” Sam tells Jean in their next session. He says that Emily is more adventurous (she slapped him during sex) and that she’s helping him get over Sidney. Because she’s obsessed, Jean challenges him and says he still needs to work out his unresolved feelings for his ex. Sam doesn’t want to talk about it and gets a little peeved, but he reveals that his relationship with Sidney would occasionally be physically and emotionally abusive. Jean wants the specifics and presses, and Sam squirms, accusing her of suggesting that he is still not over Sidney, which is clear.

At the Upper West Side apartment, Allison is rummaging through Jean’s stuff. She unlocks one drawer to find a set of cassettes, plugs them into a player, and hears, “This is Jean Hart. These are my recordings.”

Jean returns to the cult/co-op to talk to Rebecca, who reveals what Jean already knows: that she’s seeing her mother tomorrow in therapy. And, bonus, she’s having a baby. That’s why she wants to go see her mom: to completely disconnect before becoming a mother herself. She reads Jean the letter she intends to read to her mother during the session. Jean convinces Rebecca that the session is a bad idea because the therapist will take her mother’s side. She leaves, but not without slipping the letter into her purse first.

After work, Michael goes to The Rabbit Hole and orders ground coffee from none other than Sidney, who flirts, hands him a flyer for her band, and tells him to check them out on Instagram. When he leaves, she posts the picture she took with Jean to her Instagram.

Jean is on the phone with her mother when Michael walks in, surprising her with the ground coffee and a flyer for Sidney’s band. And what a surprise it is! Jean tries to hide how rattled she is, but Michael just thinks she is being jealous. Then she makes out with Michael in the shower. She slaps him out of nowhere and warns him not to go to her coffee shop again — which he apparently loves, because he starts to have sex with her.

Allison is reading in bed that night when there’s a knock at the door. Who could it be? Catherine? Melissa? The real Diane Hart? To be determined.

Best Line: [slaps her husband] “Don’t ever go to my coffee shop again.” We can understand how Jean is protective of her best-kept-secret coffee shop. Aren’t we all?

Most Unprofessional Therapist Move: Talking Rebecca out of her session with her mother, which could have helped both of them. And then stealing the letter Rebecca was going to read out loud to Claire.

Episode Grade: B

—Eric King
(Click ahead for episode 9)

EPISODE 9: “Neverland”

This episode starts off with a reveal of sorts. It turns out that Sidney’s drug hookup (through her friend in the band) is actually none other than Tom Devins, Allison’s ex-boyfriend! This could be one of those Lost moments where you found out two characters were secretly corrected in a way you never expected, but alas, this one goes nowhere and has nothing much to do with anything, other than the fact that Allison, Sidney, and (by extension) Jean have all been doing the same drugs.

A much bigger reveal comes shortly after, when Allison’s mom shows up at Jean’s office. She hasn’t seen her daughter in 48 hours and came here because she knows Allison is supposed to be here on Wednesdays. Jean says it’s no big deal; Allison often reschedules, which is weird because apparently her mom’s been giving her enough money to come here four times a week. Also, Allison has been living with her mom for months, and her mom is in perfectly good health — in direct contradiction to basically everything she ever told Jean. Slowly, Jean realizes that she finally found a patient capable of beating her at her own game. The therapist who lies to everyone and manipulates her patients for her own ends couldn’t even tell that one of her patients was, in turn, lying to her and manipulating her for her own ends.

Unfortunately for Jean, she’s in too deep now. She let Allison stay at her place, after all — if something bad happens to her, this therapist’s whole house of cards could come crashing down. She once again tries lying to her colleagues, saying Allison’s mom was just coming in to book a family session. They’re starting to get suspicious of her, however.

Jean finally meets with a doctor about Dolly’s potential ADHD, a plotline you’d be forgiven for having totally forgotten about. The doctor connects Dolly’s tomboyishness to her ADHD and says it could prefigure her sexuality down the line, but right now, it’s best to just keep letting Dolly express herself. He does want to prescribe medication, however, which doesn’t sit well with Michael when Jean tells him about it later. He’s against medicating their 9-year-old and wants a second or even third opinion, while (correctly) pointing out that Jean just wants to medicate Dolly for her learning issues because she also thinks it’ll correct the possible gender dysphoria.

It’s funny how the first episodes of this show made it seem like Michael was the bad guy (always working late and flirting with his hot assistant) and Jean the rightfully unsatisfied ambitious woman, but through their attitudes toward their daughter, we really see who’s who. Michael loves Dolly for who she is and wants her to express herself, while Jean is freaked out about the very possibility that Dolly might be trans and wants to shut it down immediately. Seems like she wants to control every facet of Dolly’s life, just like she does with her patients.

For his part, Sam is also starting to get wise to Jean’s manipulation, even if he’s wrong about the specifics. He thinks Jean keeps trying to reconnect him with Sidney so he’ll stay “sick” and Jean can maintain her power over him. He’s done playing this game and announces he’s ending their sessions, to Jean’s distress. She clearly doesn’t care for people breaking her control over them.

Michael finally figures out that it was Alexis who spread the office rumor that they hooked up in Texas. She admits to it, after which he announces, “Nothing is going to happen between us. I need you to understand that.” But he also asks her to come back to her desk outside his office and later ends up crying in the shower. Clearly, he’s got complicated feelings.

His complicated feelings are nothing compared to Jean’s relationship with her mom, however. Literally within seconds of showing up at their door for dinner, Jean’s mom is opening old wounds and asking her daughter why she looks so tired. Luckily for Dolly, Grandma is still stuck in archaic gender norms (she thinks actresses curtsy after final curtain, not bow — like, has she seen a play in the last few decades?), so Jean finally gives her daughter the short pixie haircut she’s wanted, if only to spite her mom.

After finding a solution to the Peter Pan harness problem for Dolly’s play, Jean gets a text from Sidney that Sam is “out of his mind” and “freaking out.” She goes to pick up Sidney in her “mom car,” where she learns that Sam is actually engaged to Emily. Jean asks Sidney why she seems so upset about him. It’s simple — everyone in Sidney’s life is leaving her behind, especially her mysterious lover who won’t tell her anything about her life.

Ahead of Dolly’s play, Jean tries calling Sam and leaves a message asking for another meeting. When she finally takes her seat next to Michael and her mom, Jean gets a mysterious call from an unknown number, which she declines before shutting off her phone. I’m sure that wasn’t a mistake.

Her mom is none too pleased when she sees Dolly’s short haircut, and they start bickering so much Michael makes them separate and asks his wife to “just try and enjoy our girl, okay?” For once, Jean obliges, and she’s so overcome with pride at the end of Dolly’s performance that she tells Michael she loves him.

Once she turns her phone back on, she learns that the call was from Allison, who left a message asking for help. Jean then gets a new call from psychiatrist Gary, who informs her that Allison is officially missing. So this episode’s cliffhanger… just confirms what we learned at the top of the episode from Allison’s mom.

Best Line: “Dolly isn’t like you — not as a student, not in the way she dresses, and that’s okay.” Although he hasn’t quite connected the dots on his wife’s affair, Michael is starting to see through Jean’s lies and spot how she manipulates people — and he’s determined not to let that happen to their daughter. Also, props for sticking up for a child’s right to be who they want to be.

Most Unprofessional Therapist Move: Probably goes without saying that lying about a patient who might be in danger in order to protect your own professional reputation is a pretty big dick move.

Episode Grade: B-

Christian Holub
(Click ahead for episode 10)

EPISODE 10: “Black Barn”

As usual with Gypsy, we don’t pick up right after the previous episode’s cliffhanger, but rather some time later (this is actually an incredibly hard show to binge, as you’ve probably realized by now; momentum rarely carries over from one episode to the next). Detective Chris Kelly (Craig Wroe) shows up at Jean’s office the next day asking about Allison. Jean’s façade is now coming apart at the seams, and she desperately tries to hide all the ways she enabled Allison and lied about her treatment in the run-up to her disappearance. Lying to the police is different from lying to her gullible friends and husband, however. When she tries to use patient confidentiality to protect her notes about Allison, the detective responds that he can just court-order them. So she gives in, but not before directing Kelly to Tom Devins as the likely suspect.

Speak of the devil, Jean soon runs into Tom. He mocks her for falling for Allison’s lies (especially “that bulls— about her mom’s cancer”) and declares, “I might be an asshole, but I’m not a f—ing kidnapper!” Jean runs off in a hurry.

The apartment where Jean let Allison stay is now the site of a new tryst with Sidney, who manages to find some of Allison’s leftover drugs in the freezer. So yeah — not only was Jean letting one of her most endangered patients stay in her off-the-books apartment, but Allison was also using drugs while she stayed there. What happens next is even weirder — when Sidney realizes that Sam’s having an engagement party with Emily that night, Jean convinces her to go. They go, and it’s weird. I’m not even sure what Jean is playing at in her various games anymore — it seems like she might just be screwing with people for the sake of it.

All these games are starting to come apart in her hands, though. When she sends Alexis’ Moth story to Sidney as an example of “Diane’s” journalism, Sidney Googles it and finds Alexis’ version (does Jean not know how the internet works, or…?). Sid goes to confront Alexis at Michael’s office, and the show’s two seductresses finally get a scene together. Sidney then stomps around the office and finds the picture of Jean on Michael’s desk.

Once Michael learns that a mysterious woman stopped by his office and that Jean is giving a speech about bullying at Dolly’s school, which she never told him about, he’s so flabbergasted that he finally tries to make a move on Alexis — at which point she TURNS HIM DOWN, saying she’s already seeing someone else. Amazing. Other characters’ treatment of Michael on this show almost comes off like alt-right propaganda — the “nice guy” can’t help but get cuckolded over and over again.

Michael’s had enough. That night, he finally confronts Jean, declaring that he knows she’s lying, though he’s not sure what about. Honestly, I’m surprised it took him this long — wasn’t he watching videos of Sidney’s band in Jean’s search history? Didn’t Sidney upload a photo of them making out to her band’s Instagram page, which she told him to check out? Did he literally never click a link? Does ANYBODY on this show know how the internet works?

Anyway, Jean reveals that she kept the apartment downtown — the one she told him she got rid of eight years ago. This causes him to snap and piece some other things together as well. He starts to wonder whether Melissa (that patient who burned down her house and blamed Jean) was really crazy at all, or whether Jean manipulated her. Of course, it’s obviously the latter, which we find out more about when Jean heads to her mom’s house and starts digging through old things in the basement. She pulls out a news clipping about Melissa getting arrested and puts on a turquoise bracelet.

The next day, Jean convinces Sam to come in for another appointment — unfortunately for him, because she immediately starts screwing with him again. She says Sidney contacted her to voice her worries about Sam’s engagement (??) and manipulates him into admitting that he still sees Sidney as the ultimate fantasy (especially after he caught a glimpse of her at his engagement party). Sure seems like Jean’s trying to get Sam and Sidney back together to get them both off her back.

That’s not even Jean’s creepiest encounter of the day, however. She goes to meet Melissa (Kerry Condon) now that she’s out of the hospital. Melissa, obviously, doesn’t want anything to do with Jean after being locked away in a hospital for years, but Jean still has her tentacles embedded deep. After Jean lies and says she never took off Melissa’s bracelet, the poor girl’s façade crumbles and she embraces Jean, saying she missed her. I think this scene is the most revealing in the series. Jean isn’t getting anything out of this. In fact, a renewed connection with Melissa will probably only expose her to greater scrutiny — nevertheless, she’ll do anything necessary to keep her victims under her thumb.

Michael asks for a key to the apartment so he can check it out. When he does get there, he sees two glasses by the bottle of bourbon, realizing there must have been a tryst of some kind. He’s not the only one who wants to get in, however. When Detective Kelly calls Jean again, he says he talked to Tom. The boy seemed legitimately concerned about Allison and told the detective about an Upper West Side apartment, so now he wants to go check it out. Jean manages to get there first and clean out most of the incriminating evidence, however.

She then goes to give the big speech about bullying we just learned about in this episode. Meeting Michael outside the school, she swears she’ll commit to him this time, but he knows it’s just another lie and walks inside. While Jean gives her speech, we check in with every other character — Sam having second thoughts about Emily, Kelly finding a picture of Jean’s mom in the apartment, and Allison sleeping (or dying? It’s unclear) in the back of Tom’s car. Jean then reaches the climax of her bullying speech, in which she says that people who bully are just trying to control themselves. Like the Freud paraphrase that began the season, this is not a particularly new or original insight. While she finishes, Jean makes eye contact with Sidney, who’s there too for some reason, and gives an evil smile. Then the show just ends, with absolutely nothing resolved.

Can’t say I think it was worth watching 10 whole episodes just for this final nothingburger. This show definitely thought it was more original than it was, which is weird since therapy has long been a subject of prestige TV (and unlike The Sopranos or Hannibal, this one doesn’t even have any gangsters or cannibals). So I can’t say I’m dying for a season 2, but if there isn’t a season 2, then nothing gets resolved at all.

Best Line: “F— this. F— this.” Right you are, Michael.

Most Unprofessional Therapist Move: There’s been a whole season of these, but lying to a girl just out of treatment in order to get her back under your control is probably the most insidious thing Jean has done. Get out of there while you can, Sidney!

Episode Grade: C

—Christian Holub

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