Joanna Robinson

some drama ensues from there.

During said fight, which is not only integral to kicking off the whole plot, we get so much exposition packed in there about

their relationship their dynamics their financial status their hopes and dreams where they started and where they ended and all the sort of stuff like that and it is so well acted and well written and well performed that like it did it's the kind of thing that usually bothers me that they're packing so much exposition into something else and it just like completely went down smooth as silk I thought it was so good

The wine-soaked glass shard rug.

I mean, guitars smashed by the end of it.

A young couple at the beginning of their relationship.

And as, you know, as Lindsay later says to Austin, like, oh, you haven't had a fight.

You need to have a fight.

You know, he's like, great, let's have one with Ashley.

It's really good stuff.

Anything sort of big picture theme-wise, either in this season or across both seasons of Beef that you want to call it.

Like, obviously, questions of class, which we already mentioned.

Race, sex, who's having it, who's not, who's paying for it, et cetera.

But I think no matter what, like, I think the bigger umbrella, which is present a bit in White Lotus, but much more drilled in here, is just sort of the...

constant I mean I think it's reflected in some of the episode titles this like constant restlessness of I don't have enough yeah or am I who I want to be or is that person who I want to be or how can I be that person the moments we get both in episode one and three of Josh seeing himself either as Troy or as Lindsay in a photo it's just really animating this idea of just sort of like

Who was I born as?

Who can I become?

What does upper mobility look like?

Is there anything... Is there ever anything that would just sort of, like, satisfy you inside of a system like that?

me if you leave me.