Jordan, now in her new body, has to prove to Cooper that she is who she claims to be. Initial shock gives way to acceptance when he realizes she is telling the truth. They embrace. Jordan asks him not to look at who she is now, but to listen to her. To trust her.

Meanwhile, Jeremy and the Assassin—now unlikely partners—go after the man who infected Jordan. The torture is set to the sound of Christopher Cross, because in this series, even violence comes wrapped in pop irony. The scene is interrupted by Byron, who brings a new order: Cooper Madsen must be eliminated. In New York.

Back at the emotional core of the episode, Jordan confesses to Cooper that, for a moment, being beautiful made her feel powerful. Special. Now, not so much. Cooper tells her that he has always found her beautiful, regardless. Still, there is no certainty about whether Jordan will share the same fate as the other victims—only a cold estimate: about a year and a half. Until then, they decide to keep it secret. Jordan tries to kiss him, but Cooper pulls away. It is better to wait until they know whether the process can be reversed.

When they finally reach the apartment of the man who infected Jordan, the answer comes too late. He is dead. Literally blown apart.

The episode then rewinds three years. Byron appears much older than he does in the present, preparing to undergo the rejuvenation procedure. The woman we believed to be his mother, Franny, is revealed to be his wife. The two argue about their troubled son and their failed marriage, but remain together for one simple and brutal reason: money. Even if they despise each other, divorce would be too costly.

There is an irony impossible to ignore in Isabella Rossellini’s presence here. She starred in Death Becomes Her, a film about eternal youth, and was for years the face of Lancôme—until she was deemed “too old” by the industry. Now she appears in a series that delivers a harsh, unapologetic critique of beauty consumption and obsession.

Byron then leads the gathering of billionaires. All are in their seventies. All are willing to pay any price to be young again. Voluntary test subjects of their own vanity. The transformation scene is deliberately grotesque, almost unbearable. When they return in their new versions, Byron watches them with absolute coldness. One by one, he kills them.

In the end, only Byron walks out. Young. Renewed. And more monstrous than ever.