This is the second of a two-part blog series about Fleishman is in Trouble, the 2023 FX mini series. Be warned: since the plot will be discussed, there are spoilers ahead!
Fleishman Is In Trouble Official Trailer | Disney+
Directors for Episodes 5 - 8: Shari Springer Berman, Robert Pulcini, Jonathan Dayton, Valerie Faris
Writer: Taffy Brodesser-Akner
Looking at the directing duos in the second half of this mini series, it makes complete sense that there would be a male and female director on board for each episode because as the season progresses, we begin to see the differences in the male and female experience. Toby’s perspective dominates episodes 1-4, but as Libby becomes more invested in his life again, she makes some discoveries about the reality of the situation for Rachel, and the extent to which her version differs to his. In the latter half of this mini series, it becomes more complex, more philosophical, and devastatingly real. It manages to convey the complexities and interrelated elements of ageing, self-actualisation and the human psyche.
The predictions and hopes of the drama mentioned in the first of this two-part blog (linked above) are somewhat met in the episodes that follow. What I expected was some sort of twist, but instead of the conventional ‘big reveal’ moment, the show is written in a way which means that the truth is gradually uncovered as the narrative is retread from Rachel’s perspective, all the while being narrated by Libby. The voiceover begins as a pretty standard storytelling device and is non-invasive, if a little biased at times, but as Libby becomes personally more involved in Toby’s life, her investment crosses over into her personal life as she takes it upon herself to examine both sides of the story, as any journalist worth their salt would naturally do. What she finds is a string of heartbreaking revelations, told with an unrivalled analytical depth and performed incredibly - by both Claire Danes and Lizzy Caplan.
Though very melodramatic, one small possibility of how things might have played out for me was that Toby was a master of deception, he had been pretending to be a wholesome, somewhat bumbling family man, and actually murdered Rachel. That was always worst case scenario, and unlikely since Rachel’s friends reported having seen Rachel asleep in the park (a strange comment that was almost glossed over), but since she had been gone for such a long time, it was hard not to jump to conclusions about where she was, just like her children did! I’m so glad the series didn’t go in that direction as the nuanced approach to relationships and life is what makes it so brilliant.
Episode 7, titled ‘Me-Time’ is one of the best episodes of television I have seen this year. Everything changes in this hour. It's transformative. Everything we thought we understood about the Fleishman divorce is reshaped by a more balanced recollection of events, a reframing of context, and rephrased conversations. Things that seemed a done deal were not indeed how things took place, and we were missing one half of a complex and multi-faceted story. It all matters because it concerns privilege, silent battles and feelings that were cast aside the first time around out of bitterness, pride and resentment. This is not to say now that the tables have entirely turned and Rachel is actually a saint, but the viewpoint was previously skewed in Toby’s favour and neither one of them is all good or all bad. They are both flawed humans and they have both struggled. Divorce doesn’t seem to have changed that.
In ‘Me-Time’, we see how things went from Rachel’s point of view (as re-told with the help of Libby after she finds her in the park). We see how she wasn’t always ‘cold’, as I described her in part one of this series. We see how much she suffered during childbirth (she was absolutely terrified) and how the experience haunted her afterwards and then how she had no support network to help her in her darkest moments of early motherhood. We see how she had to grapple with the concept of consent (then stand in a lift with the very doctor who abused her). We see how she tried therapy. We see how she fought for her career out of a desire to provide a better life for her kids than she had herself. The motivators were hidden before, but with more context we see Rachel as a woman we can truly sympathise with and admire. For all the trauma she experienced and for all the mental hardship she endured, she is what many would describe as ‘successful’.
In the episode, we even gain an understanding as to why she decides to shut herself off from ‘her world’ in NYC while she is at a yoga retreat (which was a location for an affair with Sam Rothwell, but she decided to stay even after he broke things off, saying she wasn’t as ‘fun’ as he expected'). Rachel is a woman operating a precarious balancing act - running her agency, being a mother to two children, socialising in the ‘right’ circles - so it’s no wonder there is nothing left in the tank for her after some time. I don’t know how much to believe Toby when he flippantly comments that she has ‘done this before’, because it really seems like she needs this break to recover from the constant onslaught of life. We all run out of steam at some point, but for her, this retreat has been years (perhaps decades) in the making. She attends a meditation session where she is encouraged to shout by way of an emotional release, and Rachel’s (Claire Dane’s) scream is one of the most guttural sounds I think I’ve ever witnessed on a TV show or film. It reminded me of childbirth. Anyway, post-retreat and back home, Rachel became seriously unwell resulting in her hallucinating, battling insomnia and losing sense of reality and time. The knock-on effect of this for her was enough to shatter her sense of self even further, and Libby finds Rachel sitting in a park when she is at the end of this episode feeling like she has lost control of everything she worked for in the space of a couple of weeks.
The episode, and therefore everything leading up to this point in the show, made me think carefully about the expectations placed on women, especially today. But even more so, the expectations that women place on themselves. The majority of the characters are extremely privileged. All but Rachel, whose parents died young, grew up around wealth and have always lived comfortably with the knowledge that if anything went wrong in life, there would be someone nearby to pick them up. When married, the Fleishmans had a huge Manhattan apartment, big enough to comfortably house a family of four, and a house in the Hamptons, and even after the divorce, Toby was able to afford a nice sized apartment on a single wage (which you would hope would be true as a doctor). Libby is a stay at home mother/writer and her husband is a lawyer - they’re all people in high paying professions. This all led me to think about the ability that these people have to work through problems - if you need childcare, just pay for camp or a nanny; if you are unwell, start therapy; if you want to get out of the city, go to your second home. What about the average American? What would they be able to do? Rachel’s situation is awful and this is not to denigrate any of her character’s experience, but how would it be different if it were happening to a person without her means? Sadly, I suspect the fight would be even harder, and the judgement from society even harsher.
The mini-series finale crams an awful lot into just over one hour. We continue following Libby across the city as she continues her investigation into Toby and Rachel’s life, with her declaring Rachel is in the middle of having a nervous breakdown and him very detached about what should be an important revelation. He immediately takes up the mantle as the ‘cold’ character. In the latter half of the series, especially in the last episode, we also learn more about Libby and her own internal confusion. The irony of this being that she is carrying out an investigation of a couple that nobody asked for, all while doing the very same thing that Rachel did to anger Toby - she leaves her family and becomes temporarily removed from their lives. It’s clear that both Libby and Rachel have similar insecurities around belonging and parallels start to be drawn between the Fleishmans and her own marriage with husband Adam (Josh Radnor). When Libby and Toby are in conversation at a party (which turns out to be Seth’s engagement party - there is just too much to fit into this blog!), she tells Toby about a book she is writing, recalling the key elements of the relationship but leaving enough out that the book could be about either couple. Toby is desperate to know how it ends, and it shows a glimmer of hope that there is actually some love remaining in him for Rachel after all.
What questions do I have at the end of the show? Will Seth be okay and have a happy marriage? I hope him and his fiancée have a long and loving life together! Does Rachel pick herself up, get some help, reach out to Toby, rekindle any of the broken relationships (personal or professional)? There are a lot of shattered elements in her life at the end of the show, but there is also an overtone of hope and new beginnings so I would like to try to be optimistic about her. I hope she thrives from this point forward, and Toby is far more understanding about what she has experienced so that they can (at the very least) co-parent in a civil way.
Other thoughts: I really should have done a post per episode because there is far too much to comment on across four episodes, but here are some of my other thoughts in bullet points:
I haven’t discussed the Vantablack exhibit (and episode generally) but that is something that is open to many interpretations. The black void is such an interesting concept (I would love to go that museum!), as is the block universe that is referred to several times throughout the series. There are many examples of external concepts like this which are symbolic and applicable to the characters’ relationships.
The Fleishman family is jewish and this is an important part of their identity. It also forms part of a sub-plot about Hannah and her bah mitzvah and commitment to judaism. Hannah’s behaviour and progress in the show could have its own blog, but I thought the scene in the church with her and her dad was really touching, and important in solidifying their bond and mutual understanding after so much upheaval.
The show is shot on location in New York and I haven’t spent any time exploring the locations and their importance. However, it certainly adds to the authenticity of the show and makes it all the more easier to get caught up in.
Hair and costume: I noticed when I looked on IMDb that the show is nominated for an Emmy for ‘Outstanding Contemporary Costumes for a Limited or Anthology Series or Movie’ (specifically for episode 7), and I would just like to reiterate that the costume design in this episode elevate the story to new heights. The slogan tees, the ‘fall from grace’ from designer pieces to tracksuit bottoms, the period dress from previous decades - it is all instrumental. Rachel’s hair evolution is also important in sharing with the audience where she started and where she ended up - from soft, wavy shoulder length hair to a blunt bob which is quite severe in its cut, it hardens her look immensely.
Final word: Fleishman is in Trouble is a terrific mini-series well worth your time and it sure does make the aftermath of divorce look ugly for all involved. The performances from Lizzy Caplan and Claire Danes blew me away and I am pleased to see a show dealing with the intense feelings of doubt that creep in about where life has lead us, especially as an adult woman, as well as the extremely important depiction of birth trauma and postpartum depression. I wish all the Primetime Emmy nominees (especially Lizzy Caplan, Claire Danes, Taffy Brodesser-Akner and Valerie Faris) the best of luck for the upcoming awards season!
You can stream Fleishman is in Trouble on Disney Plus now.