Before I watched previews of Max limited series Love & Death, I knew nothing about the real-life murder that rocked a small Texas town in the early 80s on which the series is based. I didn’t watch Hulu’s either Sweets with Jessica Biel, which explores the same story and premiered almost a year ago, in May 2022. More so, unlike American Crime Story: The People v. OHtrue crime stories have never quite been my thing.

That all changed with Love & Death, which is the most excited I’ve been in years for any show, let alone a true crime series. The seven-episode series from Emmy winner David E. Kelley (Big Little LiesThe Practice, Ally McBeal) and multiple Emmy nominee Lesli Linka Glatter (Homeland, Mad Men, now and then) is so addictive and engaging, it will stay with you long after you finish each episode.

Thanks to a beautiful performance by Elizabeth Olsen (who plays Candy Montgomery, a church-going housewife and mother of two who yearns for more), plus a strong supporting cast (Lily Rabe, Patrick Fugit, Jesse Plemons, Tom Pelphrey), this a story less about whodunnit and more about the human psyche and secrets people never reveal.

In episode seven, titled “Ssssshh,” viewers see the gruesome fight that ensued between Betty (Lily Rabe) and Candy (Elizabeth Olsen) that led to Betty’s death. While it’s clear that Candy first had to defend herself against an axe-wielding Betty, which doesn’t make sense, is why Candy felt the need to brutally beat Betty 41 times. However, the hypnotist on trial reveals that Candy was emotionally disconnected at the time and immediately after the murder.

Eventually, Candy is obtained, but she will never get her former life back. And so, a week later, Candy and Pat (Patrick Fugit) decide to leave Texas, but not before driving to Allan’s (Jesse Plemons) house to say goodbye. They both apologize for how out of control things are (you think?!), but it’s also the case that Candy and Allan can act and talk like it’s just a little speed bump. Finally, Candy drives with Pat and the kids, past the Como Motel, which looks so empty—and far away.