What’s the biggest scam you’ve fallen for lately, and why was it watching The Woman In The Window? The trailer for Netflix’s latest thriller starring Amy Adams makes it seem like a twisty thriller along the likes of The Girl on the Train (you thought I’d compare it to Gone Girl, didn’t you, but let me be clear that my expectations were not quite so high). Although the reviews were not good, I tuned in anyway, the nearly two-hour version of your S.O. handing the milk carton to you and saying, “smell this, I think it’s bad.” In any case, I hadn’t read the book, so I figured I’d at least be surprised by the ending.
While, like I said, I wasn’t expecting The Woman In The Window to be the next Gone Girl, I certainly wasn’t expecting… whatever it was. Truthfully, I started writing a listicle entitled “17 Things More Suspenseful Than ‘The Woman In The Window’” but felt that in order to do the ridiculousness of this movie justice, I needed to recap it. Yes, that means I watched this ill-conceived movie not once, but twice. They say all great artists suffer for their art, but even I found this (completely self-inflicted) punishment a bit extreme.
But, this will be good for me since I mostly texted through my first viewing (although I feel confident in stating that I didn’t miss much).
In any case, we open with Amy Adams, aka Dr. Anna Fox, waking up on the floor of what’s supposed to be a brownstone on West 121st St. in Manhattan, but, as anyone who’s ever stepped foot in a Manhattan apartment can tell you, is actually just a mansion the filmmakers have plunked into Harlem. I mean, even the main floor has multiple palatial rooms in it, and this brownstone has three floors and a basement apartment. Plus, the bedrooms can fit way more than a full-sized bed. I rest my case.
Realty deception aside, the film opens with Anna watching a family move in across the street—the Russells. She’s having a conversation with her husband and daughter, but even my first time watching this, I immediately knew they were both dead. Know how I know that? Because this woman repeatedly throughout the movie has conversations with disembodied voices. Come on. Twist one, ya blew it.
Already, we’re supposed to know that something is up with this family: Anna remarks, “who moves in after a one-day paint job?” And it’s like, um, every single renter in NYC. Most of us don’t have the luxury of waiting for the paint to dry before we can move in because we have to GTFO of our previous rentals.
Anna sees a patient, but it really seems like the patient is seeing her, since she’s updating him on her life and the neighborhood. This is giving me big Grace in The Undoing vibes, because both of them were terrible psychologists. This patient of Anna’s is very interested in the neighbors who just moved in across the street, and Anna knows from speaking to the broker that the husband is a banker and the family just moved from Boston. And again, another unrealistic plot point. I’ve lived in my apartment building for three years and couldn’t pick any of my neighbors out of a lineup. I literally just had someone move into the unit below me and the broker wouldn’t tell me sh*t about them. Anyway.
Just kidding, turns out the patient was actually Anna’s doctor making a house call. Apparently she’s not doing too great, which, yea, I could have guessed by how she’s having full conversations with dead people. Also, she’s taking a medication that you’re not supposed to drink on. But Anna treats that suggestion much like I treat any warning not to mix a medication with alcohol:
At night, the boy who just moved in across the street rings Anna’s bell to drop off a gift. She tells him she’s not letting in visitors and he says, “I’m not really a visitor, I’m more like, a neighbor.”
Me:
She lets him in, even after that criminally terrible line. Definitely not weird at all to go over to your neighbor’s in what appears to be the middle of the night…
Anna tells Ethan that she and her family are “separated”, and it’s like, yeah. Separated from this Earth. Don’t come for me, I really don’t think that’s a spoiler! Use your brain cells!
Ethan, who is supposedly just shy of 16 but looks about 25, is shocked that Anna is a child psychologist. He can’t fathom “why a kid would need a psychologist” and it’s like, dude, where have you been for the past five years? We’re de-stigmatizing mental health.
He does concede that being a child psychologist is “more interesting than like, working at Taco Bell” (bizarre observation) and automatically assumes Anna treats the kind of children who are plotting “school shootings or torturing someone,” which I feel should have been a red flag.
Already Ethan starts acting extremely weird, flinching when Anna tries to touch his shoulder and also, as I mentioned before, simply being over there at night? Then they go look over Anna’s movie collection—again, not at all a weird thing to do with a child (who is clearly an adult in a hoodie) that you just met.
After Ethan leaves, Anna falls asleep watching some old movie, cracking up on her couch. The movie in question does not seem at all funny.
The next day, we meet David, Anna’s tenant who’s apparently been living there for three months, but who we are just hearing of now. It’s also Halloween, and they fight over whether Anna will answer the door for trick-or-treaters (no) or leave a bowl of candy out (no, because “they’ll take all the candy, and then they’ll take the bowl”). Geez, what a grinch. Somebody tell this woman about disposable bowls!
Her reputation as a grinch must be preceding her, because the neighborhood kids egg her house. Anna opens her front door to confront those meddling kids, then promptly blacks out. When she comes to, Julianne Moore is in her house. At first I wondered how Julianne Moore could have seen Anna have a panic attack from insider her own home, but then I noticed it was because she was at the door right when Anna opened it to yell at the kids. See, it was worth watching twice!
Anna surmises, “you must be Jane Russell.” Julianne Moore replies, “what makes you say that?” and again, that should throw up a red flag! Like, the only reason I’d respond this way would be if I was a celebrity and trying to troll a fan. Maybe one day…
Why Anna and Jane strike up anything resembling a friendship is beyond me, because Jane acts like a huge c-word right out of the gate. When Anna reveals she’s agoraphobic, Jane replies, “You’re stuck inside this shitty house,” and then, if that weren’t clear enough, she reiterates, “Oh man. I’d hate to be stuck inside a house this shitty.” Ma’am! This is a mansion in the middle of New York City (well, not the middle—the top part. You get the point). The house is not, by any measure of the word, shitty! And also, how unbelievably rude!
Amping up the rudeness, Jane asks, “so what do you do all day? You work?” Damn, lady! Which pack of wolves taught you manners? Why Anna hasn’t kicked her out already is beyond me.
Anna again reiterates that she is separated from her husband and that her daughter Olivia is “with her father.” Ominous…
After trying to pry and ask Anna if she wants to go outside, Jane bursts into laughter when Anna curtly tells her she has a shrink of her own. I don’t know what kind of acting direction these people were given, but having taken one screenwriting course in college, I can confidently say this is not it. And next they’re talking about Anna’s pills, and what each of them do, and I can’t help but think this is all incredibly invasive. And I’m supposed to believe this is a sudden friendship these two struck up? I’ve been more polite to my enemies.
Anna tries to change the subject—again, because this woman is prying like she’s a human crowbar—and Jane goes, “oh wow. Subject change,” and then mimes a neck injury, like she’s getting whiplash. Again, weird acting direction. Would anyone ever do this IRL? It seems terribly corny.
Anna compliments Jane’s earrings, and Jane remarks that they were from an old boyfriend. Anna asks if her husband knows, and like, why is that information your husband would need to know? He keeps track of where every single one of your belongings comes from? You’ve never heard of just saying they’re from TJ Maxx? I mean, I just claim most of my clothing and accessories are from Macy’s because there’s a 99% chance that’s true. Anyway, Jane says her husband has trust issues and they both laugh about it, and I’m sitting here, not a psychologist, but even I know that if your husband is so jealous that he can’t stand you wearing earrings you got from an ex, that’s a problem!!
Anna asks, “why is your family complicated?” and Jane plops down a sketch she apparently just drew of Anna, even though she’s had the notepad in her hand for approximately three seconds. Oh what, so only you can be invasive, rude, and call out when people are trying to change the subject? Ok, Jane. Ok.
After Jane leaves, Alistair Russell is at Anna’s door to ask “if any of my family has come around to see you this evening.” What a weirdly vague way of putting that. Also, have these people never heard of a phone? Anna says no, for reasons unknown, which catches Alistair off-guard. Probably because he knows she’s lying. But then why not just ask directly…
After he leaves, Anna hears some movement in her kitchen and immediately calls 911 to tell them she thinks there’s someone in her house. Except it’s just her tenant, rummaging around in the kitchen he pays to use. Why would that be your first reaction when you know someone else lives in your house…?
David is another asshole, because after he pokes around on Anna’s skylight when he notices there’s mold on it and Anna yells at him to come back inside (because it’s not sturdy, this will be important later), he scares her by jumping out of a corner and yelling “Boo!” you did it, bro. You cured her agoraphobia with your sick prank.
Maybe the next night, or later that night (I can’t tell because time elapses like molasses in this movie), someone apparently screams at the apartment across the street. I say “apparently” because this is a main plot driver, yet I did not hear the scream when my TV volume was on loud; I’m only aware of it because my closed captions said [woman screams] [man continues shouting]. This woman has got to have some bionic ears for knowing precisely which apartment the screams are coming from. When I hear people scream or make a noise from my apartment, I can barely tell if it’s coming from the apartments to my front or the ones behind me. And yet, she’s located the precise building and unit from whence these screams originated? Ok.
So naturally Anna calls Ethan to ask if everything is ok. She then sees Jane leave the apartment, looking over her shoulder. Alistair calls back Anna’s number being like, “hello, you just called here?” which is another thing that would never happen because Ethan picked up the phone; it wasn’t like there was a missed call. Who goes through their call log to call back every number you accepted a call from??
Anna then calls David out of his room to ask if he heard the scream across the street. Damn, this lady is an annoying landlord. It’s New York City, who isn’t screaming?
Then she grabs a camera just in time to see Ethan headed over to her place. He basically says that his dad is abusing him, and Anna gives him her number and assures him her house is a safe place. And yet, does she call CPS? No. She justifies it by saying that it’s just her word against the dad’s, but I’m sorry, is this woman not a mandated reporter? Isn’t this literally her job to call CPS?? Nah, just gonna call the police on my tenant for being in his kitchen instead.
Well, that ethical dilemma is not met with another thought, as we next see Anna learning French for some reason. An apple twirls on the screen while she repeats the French word for apple. This Duolingo lesson is not significant to the plot in any way. I want to personally ask why this was kept in instead of, oh I don’t know, any character development or detail.
Anna falls asleep in front of the TV again, this time, to some 1940s-era doctor being like, “I’m going to freeze your face” and honestly I know it’s supposed to be scary, but it just feels like when Derek Zoolander went to that Daiye Spa. Anna wakes up in a panic because she can’t find her phone and keeps repeating to herself, “backtrack.” Like, ma’am, backtrack to what? I know it’s a big brownstone, but you don’t leave the house. Just search your home. It’s not like when I lose my credit card and I have to backtrack to brunch, then the after-brunch bar, then my ex’s apartment…
Anyway, at this moment Anna notices something strange happening across the street, so she grabs her DSLR camera. She sees Jane getting shoved backward, then stumbling forward with a knife in her stomach and falling over. And what does this woman do? She snaps a picture of it with the camera she’s holding in her hands for something exactly like this moment. Just kidding! She fucking drops the camera and rushes to the landline, which is mysteriously not working. Useless. Useless.
Then she goes bothering David again, and finds her phone under his bed.
Anna calls 911 and tells the operator that she watched her neighbor get stabbed. The 911 operator is extremely unhelpful and just asks if she stabbed her neighbor. Um, is that how 911 calls go? We’re going by the “whoever smelt it, dealt it” rule?
Anna tries to rush across the street to help Jane and falls on her way down the steps, ultimately not making it. At least she tried!
When Anna gets back, there’s an NYPD detective INSIDE HER HOUSE, which has got to be illegal. She didn’t give them permission to enter, and last I checked, she called to report a crime in progress across the street. Where’s the probable cause?? Alistair is also there. Again, that’s gotta be breaking all kinds of laws. Finally, a realistic portrayal of life in New York!
Alistair is only there to insist that Anna has never met his wife. The cops are extremely antagonistic, insisting that nothing happened and berating Anna for not having taken a picture. Helpful.
Anna then asks what we’re all thinking: then where’s Jane? Enter, a totally different woman, insisting she is Jane Russell. Ethan, too, insists Anna has never met his mother. Rather than asking a single follow-up question about what Anna did see, the cops just inform her that making a false police report is a crime. Solid police work, boys, thank you for your service!
The next morning, Anna tries to stalk Jane Russell online. She comes up empty-handed, but she does find Alistair’s LinkedIn. She starts calling up his workplace (totally normal) and learns that he no longer works at his old company. She finds this strange, but like, people change jobs all the time? Especially considering they just moved from out of state?
In her Facebook stalking, Anna also comes across a woman named Pam Nazin, who worked with Alistair. Pam died. A Google search brings up the headline, “Woman Found Dead In Brookline” which is really not as ominous as the over-the-top suspenseful music wants us to believe it is. People can be found dead for all sorts of reasons. The fact that she was an exec at Alistair’s company at the time seems like a tenuous thread.
She calls up the New York office and finds out that Pamela was not an executive, but Alistair’s executive assistant. And then she immediately tips her hand by asking suspicious questions to which she already knows the answers. Yikes, she is not good at this. Apparently Pam fell off a balcony. Still not really seeing the connection.
Then this lady goes to bother David AGAIN (however below market value the rent she’s charging may be, it’s still too high). When she doesn’t hear an answer, she goes to his room and starts looking at his mail. Not a good look, considering David opens the door right at that moment, and he is pissed.
No one:
Literally no one:
Seriously, I did not notice this even though they zoomed in on his mail:
David: Ok yeah! You caught me! I’m in violation of my parole! I’m supposed to be in Springfield, Massachusetts.
Anna: Ok.
David: NO! NOT OK! It was a stupid bar fight, I got jumped and I reacted.
Uhh dude, she was saying it’s fine that you’re violating parole by living in her apartment. Maybe just take the W and shut up?
Anna continues taking photos of the Russells’ apartment and manages to capture an argument at the dinner table, only to get a voicemail from the real Jane Russell saying, “stop watching our house or I’ll call the police.”
The next morning, Anna can’t find her cat (probably went the way of the mysterious missing cell phone). Damn, I’m literally right because the cat is also under David’s bed. These two need to draw up some serious boundaries, because this is getting creepy on both sides.
Just then, Anna notices something: Jane (first Jane)’s earring on David’s nightstand. That’s odd.
While having another conversation with her dead husband in her head, Anna breaks a glass in her sink. Then she spots Ethan walking across the street, and opens out her window and yells, “Ethan, where’s your mother!” So then Ethan runs over, understandably, to be like “ummm you can’t just yell at me while I’m on the street!” they get into an argument that goes like this:
Anna: I know what I saw!
Ethan: You don’t, you’re just wrong!
Anna: But I know what I saw!
Ethan: You don’t, you’re just wrong!
No, I did not hit ctrl+V too many times. They literally repeat the same lines of dialogue. And by “repeat” I mean scream, because nobody actually acts in this movie, they just yell. I feel like I could have auditioned.
Anna yells, “why are you lying for him?” Ethan whispers, “I can’t tell you” (ooh, range) and Alistair then storms in, clocking Ethan in the face and then yelling at Anna. He calls their relationship inappropriate (true) since Ethan’s 15-and-a-half and Anna is a mature woman (I don’t know about mature, but, true).
Alistair gets all up in Anna’s face like he’s going to kiss her but instead hollers, “Stay away from my son! Please!” while Anna snivels in between his arms. God, this acting. Put me out of my misery.
The next day, Anna witnesses Ethan walk out of the apartment and get into a black van. Not at all sketch. She then decides to go through her photos on her computer and an email comes in from the cleverly named address, [email protected]. Inside the email is a picture of Anna sleeping, which seems to have been taken from inside the house.
Anna freaks out and calls the cops, who’d look about as thrilled to undergo a colonoscopy as they do to respond to this report. Actually, they would much rather prefer the colonoscopy, you can just tell. These cops are so actively mean to her that, again, it’s almost a satire. Maybe this whole movie is meant to be a scathing indictment on the NYPD?
Take this exchange, for example.
Anna: Can you track it?
Cop Played By Paper Boi From Atlanta: Track it?
Anna: Or… trace it?
Paper Boi: You can’t track a Gmail account.
First of all, bro, you knew what she meant. We all knew she meant trace. It’s the same thing. We know you know she didn’t mean track as in an Amazon shipment. Second of all, one Google search told me that you can find someone’s IP address even if they use Gmail. Then again, cops being too lazy to click one link in Gmail? Sounds about right. Instead, the lady cop just victim-blames, telling Anna, “you could’ve sent this to yourself.” They really don’t even try to hide their disdain.
And just then, Alistair comes storming in, clamoring on about how Anna called his office and how she’s a drunk and a drug addict. Again… who gave this man permission to enter her home?
Anna pulls out what she thinks is a trump card, the drawing “Jane” drew at her apartment. I’m sorry, but this doodle doesn’t prove shit. Just then, David walks in (this is a clusterfuck) and Anna snitches on him! Talk about disloyal. She knows full well why David would want to lay low around the police right now, and when the cops ask David if he has a last name, he tries to be slick like, “no. It’s just David. Like Sting.” And this narc goes, “It’s Winters. David Winters.” Anna! Why would you do that?
Even worse is that she doesn’t even get his last name right, it’s apparently Winter, singular. Nosy and wrong, name a worse combination.
David says he’s never met Jane Russell, and Anna says, in front of everybody, “her earring was on your nightstand.” Instead of being like, “oh damn, this is a revelation,” the lady cop immediately goes, “what were you doing in your tenant’s bedroom?” I’m sorry, is that illegal? She could have been fixing something…
David reveals the earring belongs to a woman named Katherine who “spent the night” with him the other week. Then Anna goes FULL RAT on David and tells the cops that he borrowed a box cutter from her (not sure what that has to do with anything, we all saw the woman get stabbed with a knife) and then tells the cops that he’s violating his parole by being in New York!! You really should get that boxcutter back, Anna, because we all know what happens to snitches.
Now Anna’s just taking shots at everybody, literally pointing fingers: “he’s been to prison and borrowed a knife from me (way to be prejudicial, and also, a box cutter ≠ a knife); he’s abusive and was fired from his job and his assistant died; I saw Alistair slap Ethan in my home yesterday.”
She’s spiraling on a monologue about how someone needs to help Ethan, and let me say this is poorly written and also bizarre. “If my husband were here,” she says, “he would help.”
“Dr. Fox, your family is dead,” the lady cop says. Again, this is like, apparently supposed to be some huge twist but seemed very clear to me from the get-go. Know how I know? She was having conversations with her husband the whole movie, but they weren’t in person… or on the phone… so there really was only one explanation.
Anna says, “I don’t know how you can live with yourself if you let something happen to a child,” and then we cut to: Christmas, the year prior, and Anna and her family are driving somewhere. They’re getting into an argument because they’re sick of pretending, because (gasp) Anna cheated and guess who happens to be calling her cell phone at that moment! Yep, her side bro. Mister? IDK what you call a male affair partner. Anna drops her phone and tries to reach for it, then ends up swerving off the road and crashing into a tree, killing her husband and daughter.
Damn. The lady doth project too much.
Anyway, this was supposed to be a bombshell but was about as explosive as a fart.
So then this woman comes to in a That’s So Raven-esque way:
And everyone is staring at her like bitch, you good?
She’s clearly not good, because she looks out into the other room where her car is bottoms-up in the snow and then we’re back at the accident scene. God, I hate the way they did just about everything with this movie.
At this moment, Anna thinks maybe she’s just hallucinating from her meds and apologizes to the Russells.
The next day, she has a talk with her psychiatrist in what might be the only good scene in the movie. It’s a frank discussion about how badly Anna’s mental health has deteriorated. Although I didn’t love the psychiatrist laughing at her when Anna remarked that the Elevan might not be good for her. He chuckled like, “no shit, not if you’re hallucinating.” Felt a little dickish. But whatever!
Then, Anna’s crushing up all her pills into a powder and starts filming a suicide note. Damn, this took a dark turn. Does this woman even have any living relatives at all? The purpose of the video seems to just be so that David isn’t implicated in her death, which is nice of her now that she likely got the guy sent back to jail.
But then, as she does a pre-death scroll through her photos (don’t we all?) Anna notices something: the reflection of the woman she thought was Jane in her wine glass, in a picture she took. It’s then that she hears some thumping around in the basement, and David is back.
This bitch is literally giddy, showing David the face in the wine glass. He’s really not amused. He’s just like… “yes, the woman I told you I slept with does, in fact, exist. So?” This is kind of sad.
David explains that the woman’s name is Katie, she’s Ethan’s birth mother, and they had a one-night stand on Wednesday. He says she was basically, completely insane, and “I spent a night on a couch in Astoria just so I could get away from her.” I mean, ouch, no need to bring Astoria into this. What did our Greek food ever do to you?
Apparently Katie ran away when she was 8 months pregnant and Alistair found her in some meth commune and she went to jail. (Are meth communes… a thing?) Then she got out and stalked the family, basically. This is a pretty wild story, and yet Anna is treating it with as much surprise as you would when you realize the grocery store is out of the brand of yogurt you prefer to buy. Hello??? Meth commune??? Prison??? Why is nobody reacting to this??? Twist 3, ya botched it.
Even though David does acknowledge that yes, Katie is a real person, he has no desire to find out if this woman is alive or dead. I know she was a stage 5, but damn that’s harsh. The woman was maybe stabbed!
And while she’s yelling at David to go to the police with her (when will she learn that the police actively do not want to help her), this fool drops her laptop and shatters the screen. I’m sure that pic is still up on the iCloud, but still.
And then from a corner, someone sneezes. ACHOO! It’s Ethan, since he’s allergic to cats! (Sorry, seemed like a random detail earlier). And he’s holding a knife! Note, Anna, how different it looks from a box cutter! He evil villain monologues about how he has an alibi since everyone thinks he’s in New Hampshire in a “wilderness program” which is really a juvenile prison facility. He also monologues that he killed David with Anna’s knife and intends to frame her for the murder, and implies that he set a fire to the prison before escaping. Is this really the same guy who couldn’t fathom why a child would need to see a psychiatrist?
He then reveals that he watched Anna make the suicide video and that he’s been in the house all week and continues to evil villain monologue about how he’s a budding serial killer whose M.O. is to kill unfit mothers, he just doesn’t have a method of choice nailed down yet. He literally says, “I don’t have a pattern yet. There’s so many choices. Who do I wanna be when I grow up?” this line of dialogue sounds like it’s ripped from the career counseling office of a liberal arts college, not a pre-murder speech.
Ethan says, “I just wanna watch you go” as if he simply enjoys seeing people die and not the act of murdering them. I just feel like there are a few lines of work you could go into if you simply are desensitized to death. You obviously like the killing part, so just say it! So Anna dumps all her crushed-up meds into her wine and is like, “fine, you wanna watch me die? Watch me.” Then at the last second she hits him over the face with her wine bottle.
Thus begins a mad and drawn-out chase all around the house (ugh, why is this house so big?). First Ethan stabs David (who was, up until that point, still alive). Then Ethan and Anna end up on the roof (yes, Anna actually went outside! To probably the worst location possible, because now she’s trapped on a roof with a murderer instead of just being trapped in a house with a murderer!), and of course it’s raining. It’s always raining in these things.
Ethan yells, “STOP FIGHTING ME!” and keeps reiterating shit like, “you don’t even want to live anymore!” like this is supposed to be some kindness, brutally stabbing someone in their own home with a rake to the face because they were struggling with their mental health. What a little asshole.
Obviously, at the last minute, Anna maneuvers Ethan on top of the skylight and sends him crashing through it, killing him. See, I told you that would be important.
Afterwards, the same fucking cops show up to the hospital where Anna’s at (they have some nerve). The first thing out of Paper Boi’s mouth? “Don’t stay on the painkillers too long because that shit feels good.” Oh, NOWWW you’re concerned about this woman’s mental health? GTFO. The SECOND thing is “I’m sorry.” Way to have your priorities on straight.
Then Paper Boi reveals he saw her video and does the one nice thing he’s done this whole movie and covers so she can delete the video before her phone goes into evidence and everyone else sees it.
She’s like, “really?” and he’s like, “look I messed up this case so badly i don’t think one more thing’s gonna hurt me, alright?” He’s not wrong.
His last words are, “I’m not gonna have to worry about you, right?” and he doesn’t even wait for an answer, just a faint smile, before he walks out of the room. Hahah tell me you don’t give a shit without actually telling me.
Nine months later, Anna is selling the brownstone. She says one last goodbye to the spirit of her dead husband in a scene that lasts like five full minutes, and we all get the point. I still don’t really get what was with the dead assistant. I guess Ethan killed her, but why? Was she having an affair with his dad? I suppose it doesn’t matter. Anna gets into a cab and drives off, and that’s the end.
All in all, this movie was really not worth my hour and a half. For a thriller, the one moment that made me jump was a fake-out when, right before Anna bent down to pick up David’s mail, a piece of clothing fell down from the ceiling (which, by the way, was never explained). None of the twists were dramatic or altogether surprising. And for all the yelling the characters did, none of them acted surprised in any way when the twists were revealed. I can’t believe I got through this movie once, let alone twice. If you endured it even once, I hope you enjoyed this recap.
Images: Melinda Sue Gordon / Netflix; Giphy (3)
