TV Recap: "All’s Fair" Episode 8 — Carrington Lane’s Endgame Comes Into Focus
All’s Fair Episode 8 marks the moment when Carrington Lane stops pretending she wants redemption. “Oh, Jesus!” traces the collapse of her romantic delusions, the careful construction of her public image, and the quiet clarity of her real goal: reentry. As the firm debates its future and law enforcement revisits its past, Carr moves deliberately—testing weaknesses, provoking jealousy, and sharpening a plan that turns hurt into something far more dangerous.
Episode 8: “Oh, Jesus!” - Written by Lyn Greene & Richard Levine
Detective Connie Morrow (Tamara Taylor) arrives at the firm’s library to confront Emerald Greene (Niecy Nash-Betts) and Liberty Ronson (Naomi Watts) with gruesome new evidence from the Lloyd Walton case. She shows them a bloody crime scene photo and reveals Walton was bludgeoned in the genitals before he died—an act she characterizes as a vengeance killing. Emerald pushes back, arguing that Walton’s murder shouldn’t be reduced to her assault, and urges Morrow to look for other victims who might point to the real killer.
Morrow turns the interrogation personal, asking Emerald what it felt like to watch her abuser walk free. Liberty immediately objects, accusing the detective of harassment. Morrow counters by questioning Liberty’s alibi, noting a two-hour gap the night of the murder where Liberty made no calls or texts, followed by a burst of activity at 12:15 a.m.—suggesting her phone may have been placed in airplane mode. Liberty insists her phone likely died, plugged in at the time the messages were suddenly received.
Dina Standish (Glenn Close) interrupts the exchange, coolly demanding probable cause. She accuses Morrow of bullying her way into an investigation and threatens a “containment without cause” lawsuit. Dina references Morrow’s past trouble with Internal Affairs involving a mutual connection, Suzanne Grey. Morrow refuses to back down, warning, “The truth always gets out.” Dina instructs her not to return without an arrest warrant and escorts her out. Attempting to reset the mood, Dina announces it’s Fashion Week—and insists the women ditch work to join her.
Aboard Dina’s private jet, Allura Grant (Kim Kardashian) arrives wrapped in fur as the group settles in. Emerald slips off for a massage mid-flight, emerging transformed and buoyant, calling the experience “a resurrection.”
In the glow of Fashion Week luxury, Allura and Liberty ask Dina whether she’d consider adding Standish to the firm’s name. Dina declines. Losing Dougie has shifted her priorities—she wants to scale back, not surge forward. She promises to remain present but suggests the firm needs a new, hungry partner instead.
The conversation turns to potential candidates. Dina floats Carrington Lane’s (Sarah Paulson) name. Liberty flatly states she will leave the firm if Carr is brought in.
Later, dressed in striking red at a runway show, Dina presses Liberty to reconsider Carr. She opens up about Carr’s childhood trauma: her father’s suicide, which Carr discovered herself. Dina explains that Carr’s rigid boundaries come from trying to protect herself from further damage. Liberty agrees to meet with Carr—but only if Carr competes for the job like everyone else.
Carr is at home with Sebastian (Jason Butler Harner), watching Postcards from the Edge. They mute the film and talk about wanting boyfriends. When Sebastian asks who she was last attracted to, Carr answers, “Chase Monroe.” He teases her taste, especially when Carr shares that her first crush was Jesus. On a dare, Carr agrees to sleep with Chase.
As Allura leaves her office, she’s stopped short by Chase Munroe (Matthew Noszka) waiting at the door. She immediately tells him he can’t just show up unannounced, but he presses anyway, asking her to squeeze him in and give him a clear answer about whether she’ll give their relationship another chance. Allura is firm: “I don’t think we should.” She explains that they need distance—no contact for a while—because “easy doesn’t mean right and it doesn’t mean healthy.” When Chase tells her he loves her, Allura counters that he thinks he does, admitting she needs time to remember who she is without him and believing he needs that space too. Crestfallen, Chase turns to leave, pausing only to say, “I think some love just stays, even when you ask it to go,” before walking out.
At the gym, Carr spots Chase working the ropes and wastes no time inserting herself into his space. When he takes a break, she stands behind him and begins massaging his shoulder, telling him she missed him and immediately criticizing his hair. She suggests they properly celebrate their recent “victory” over dinner or drinks, pushing hard despite his hesitation. Chase admits he wants to, but explains he’s in Sex Addicts Anonymous and needs to stop this pattern of behavior. Carr dismisses that outright, telling him he’d stop if he just found the right place to put it. She ups the ante by inviting him back to her office for a round of boss-and-secretary roleplay with her firmly in charge, and Chase is clearly turned on.
They end up in her office, where they sleep together. Almost immediately afterwards, Chase spirals, asking if her real secretary, Susan (Nicole Margulis), might have heard them. Carr waves it off, assuring him that Susan signed an NDA. Chase sinks onto the couch, visibly regretful, saying he needs to stop. Carr reframes it, insisting the real problem isn’t sex but that he doesn’t understand why he keeps doing this. She shows him the scars on her arms, explaining she knows “a little something about compulsive behavior,” and warns that abstinence won’t work if he doesn’t confront the root cause. Some days, she says, she feels in control; other days, she feels like a marionette. When Chase asks what her own reason is, Carr refuses to answer without dinner and abruptly kicks him out of her office. He pulls her back into a kiss, telling her he liked what just happened. They kiss again, and he thanks her for not judging him. Carr coolly replies, “I save the judging for the judges.” After he leaves, Carr is left alone—shaken, exposed, and clearly far more emotionally invested than she intended to be.
Chase returns to Allura’s office, bringing a sentimental relic: the engraved first-anniversary gift she once gave him—“To my husband for all time.” He suggests auctioning it for charity. Allura presses him about his recovery efforts, quickly realizing he’s lying about attending meetings. When he admits to sleeping with Carr, the conversation explodes. He calls Allura “repressed and frigid,” accusing her of being controlling and judgmental. Allura throws him out.
Later, Chase reappears at Carr’s office in costume for a fireman and nurse roleplay. The moment collapses when he accidentally calls her Allura. Carr sends him away, hurt but composed.
Carr immediately seeks transformation. She meets with Ann Ford (Tessa Ferrer), LA’s top stylist, and asks to be made over to look like Allura Grant.
The makeover works—at least visually. Milan (Teyana Taylor), newly back at the firm, is stunned when she encounters Carr styled as Allura. Milan cuts through the illusion, telling Carr that while everyone wants to be Allura, “the world only needs one of her.” What it really needs, she adds, is Carr Lane.
Allura is far less charitable. When she sees Carr, a confrontation erupts. Allura calls her a knockoff and vows Carr will never join the firm.
Carr later meets Emerald, Liberty, and Allura in the library for her interview anyway. She explains she’s there for closure. Emerald challenges her team-player instincts. Allura questions why Carr even wants the job. Carr admits their rejection—and Dina joining them—cut deeply. She agrees to mediate a case with them as a test run, promising not to hog the spotlight as long as she has someone to pass the ball to.
In mediation, Carr proves exactly why Dina suggested her. She corners Assemblyman Bob Williams (Michael Blackson) using transcripts of his conspiracy-laden radio interviews—claims about alien-built pyramids and fluoride “making kids trans.” She threatens to release everything by 2 p.m. unless he agrees to an 80/20 custody split with his ex-wife, Cora Williams (Nana Ghana), with supervised visitation. Bob folds instantly. Dina beams. “Told you.”
Afterward, Carr tells Allura she’s busy tonight… with Chase! Allura asks Carr why she keeps throwing that in her face. Carr says it’s to prove a point: That Allura’s greatest love in the world has always been the firm, and she would sacrifice literally anything to help it thrive, even hiring Carr.
Back at Carr’s home, Chase returns—but only to end things. He says he needs to stop the toxic behavior, not rationalize it. Carr calls him a coward. He leaves.
Sebastian later joins Carr for The Devil Wears Prada. Carr declares Miranda Priestly the hero. When Sebastian asks why she really wants to be in the firm, Carr drops the mask. The sob story was just that—a story. What she actually wants is payback.
“This is destiny,” she says. She plans to enter the firm like “a Darth Vader cancer cell,” make it bigger than ever, expose every skeleton, and destroy Allura, Liberty, Emerald, and Dina one by one.
Sebastian urges her to reconsider. She won’t.
Songs Featured in This Episode:
- “PURE/HONEY” by Beyoncé
- “Maneater” by Nelly Furtado
- “679” by Fetty Wap ft. Remy Boyz
Next Episode: “Interior Law Offices”