All’s Fair is, technically, a gift from Ryan Murphy to Kim Kardashian, but it is Sarah Paulson — followed closely by Glenn Close and Niecy Nash — who embraces the melodrama with such gusto that even the most absurd lines bloom into catharsis, unintentional humor, and pure delight for actresses capable of squeezing blood from stone. Carrington Lane, perpetually unhinged, always stole the show, but in these last episodes, she has essentially hijacked the series — and rightly so.

We arrive at the mediation hearing for the divorce of Allura Grant and Chase Munroe. Even though they’re still entangled in emotional litigation, their attorneys are ravenous for the final showdown — or, as they might say, ready to wrap up this mess and move on with their lives. Chase is a mystery inside a series so centered on women that his mere presence transforms him into something more than a Don Juan: he becomes the insatiable one, the man who has been with everyone, wants everyone, and also wants the fortune. His motivations oscillate between the shady and the incomprehensible. And there we go again, starting with that strangely intimate vibe between him and Carr, as she coaches her ex-lover to position himself as a victim so he can walk away with even more millions.

On Allura’s side, she continues to hide from Dina and Emerald the insemination she did without Chase’s knowledge or consent, and she seems genuinely sad — or apathetic, in Kim’s case. Emerald arrives late, carrying some kind of bombshell that both Carr and Alberta instantly sense, but they, too, have their own weapons ready.

The “professional villain duo’s” strategy isn’t to tear down the prenup, which limits how much Chase can take, but to push Allura into confessing something that would invalidate the document entirely and destroy her case. The plan works perfectly — until Chase, instead of playing along, falters. He shows a flicker of feeling for his ex-wife. One of the points Alberta uses is forcing Allura to admit she omitted the purchase of a property, suggesting bad faith.

And then comes the major issue of giving a dramatic monologue to a non-actress. Allura reveals a trauma from her youth: years of abuse from her mother, and from the boarding school she was sent to. When she finally could, she bought the place and shut it down to prevent other girls from suffering the same. She never told anyone. Carr laughs — as we do — but Chase is moved.

In the middle of the hearing, Allura feels sick and loses the embryos. She committed a crime for nothing. The pregnancy didn’t stick. Dina spirals because any chance of a good deal disappears: Carr and Alberta will dance on this revelation. They try to keep it quiet, and Dina refuses to join Emerald’s desire to weaponize the truth. Dina explains she feels responsible for letting Carr turn into this monster by not helping her when she needed it most.

Back in front of the judge, Allura jumps ahead of everyone and confesses to what she did, once again disarming Chase. Carr celebrates prematurely — she’s already planning to dissolve the Grant, Greene & Ronson firm — but Chase starts rethinking everything, to Carr’s horror. He collapses emotionally when Allura admits she committed the crime because she desperately wanted to be the mother of his children, now that Milan is pregnant and will have everything Allura once wanted — and lost.

When Dina is called home to be with her dying husband, the game seems lost. But Emerald steps in. Carr, being Carr, is impossibly arrogant and already celebrating, which leads her straight into the biggest mistake imaginable: to interrupt Emerald, she reveals that she has photos of her having sex — the photos of the abuse Emerald suffered. She thinks she’s exposing the rival, but instead triggers trauma.

With chilling calm, Emerald says, “I’m not Dina.” And she goes to war. She exposes Chase’s gambling debts, proves he was involved in game-fixing schemes… and Carr? Emerald shows the video of the lawyer drunk, rambling about her night with Chase, crying about being alone, and trying to bribe the cop. Carr disintegrates — loses her temper, her argument, her composure. She lunges at Allura and Emerald, screaming absurdities that only Sarah Paulson can make terrifying, hilarious, and heartbreaking all at once. She confesses to Allura of being Chase’s mistress for years, screams that she’s better than everyone, and keeps digging.

Outside the courtroom, shattered, Carr is comforted by Emerald, who finally understands what Dina meant and apologizes for not being more empathetic in the past. This disarms Carr completely, and Allura joins in the apology. The three embrace, cry together, exhale, and return to finish the divorce.

We never quite learn what Chase won, or what Allura walked away with, after exposing themselves as both unstable and criminal. But he waits for her. Their encounter is surprisingly tender. They kiss, suggesting something unresolved, but Allura steps back and walks away. Alone.

Elsewhere, Dina lies in bed with Doug. She tells him everything will be fine when he goes. Doug doesn’t respond. His breathing slows until it stops. Dina is alone now, too.

Divorce Is Like a Death is yet another brilliant chapter of this chaotic, dramatic, unintentionally funny, and deeply entertaining soap opera — with real emotional flashes. But floating in the air is the question: Is there a future for All’s Fair beyond this season? It’s been renewed, but loose ends are multiplying and losing shape. What happens to Milan? To Carr and her rivals? How will Alberta adapt to this profound shift in Carr? What does Chase really want? Will Allura forgive? And most importantly: who killed Lloyd Walton? I have the feeling a lot will remain unanswered…