Joanna Robinson

So.

I understand why the show is doing it.

I thought the performance was great.

I liked the way the sequence, inside of the overall stretch of maybe rushed backstory, edited and cut in a very effective way.

You know, the swing of the camera, the widening of the horror on his face as the wolf is jumping toward him.

On the dog front, though, I actually thought this was, like, a good, effective early primer for the fact that he's full of shit.

The pain is real.

He sends the dog.

So then he's, like... So, again, like, what is true, right?

And what is the version of the thing that either he genuinely feels and believes to be true or is spinning for some sort of consumption?

Yeah.

So, like...

Does he miss his dog and is the pain supreme?

I'm sure the answer is yes and yes.

It's the character who feels deeply and develops real attachments to the figures in his life who bring him warmth and comfort.

He also is like, go forward into the... I have gutted an animal to draw the wolf pack and then I am sending my dog forward, go in, and then he stands there as the yelps fill the screen.

Like, what did he think was going to happen to that dog?

He sent his dog to the death and then he's like, my dog...

Yeah, I agree with you.

So the guilt and shame and remorse and all that, and it's all like kind of, it's entwined, right?