Showing Up

Lizzy works as a sculptor and as an arts administrator assistant for her mother at the Oregon College of Art and Craft. She is preparing a show of clay sculptures depicting women in joyful or anguished movement. The preparation blends creative ambition with the responsibilities of institutional life.

Lizzy's landlord Jo constantly spars with her over priorities, turning small irritations into ongoing friction. Jo delays fixing Lizzy's hot water heater while pursuing her own shows and backyard projects. The clash highlights how personal space and artistic rivalries shape Lizzy's daily life.

To find time for finishing her work, Lizzy takes Tuesday off from work. She dedicates the day to glazing and refining her clay sculptures. This break shows her commitment to her art despite external pressures.

In the middle of the night, Lizzy's cat maims a pigeon that flies into the house. She quickly shoves the distressed bird outside to prevent further catastrophe. The incident seeds a surprising emotional arc with the animal.

The next morning Jo discovers and rescues the pigeon, taking responsibility for its welfare. She assumes the caretaker role, creating a new dynamic between the two women. Lizzy's initial resentment begins to soften as the situation evolves.

Lizzy gradually bonds with the pigeon and decides to care for it, taking it to the vet at a cost of $150. The act of helping the bird becomes a focal point of her week. The vet visit marks a tangible commitment to a creature outside her art world.

When Jo finally comes for the bird, Lizzy admits it distracted her and kept her from glazing. The exchange highlights their shared concern for the animal despite ongoing rivalry. It also underscores how intertwined their lives have become.

Lizzy visits her father at home and encounters the hippies who have moved in. She distrusts them, suspecting they are more grifters than friends. The scene deepens her sense of family fragility amid surrounding instability.

Lizzy learns that her brother Sean hasn't spoken to anyone for six months. He has become reclusive and delusional, convinced neighbors are behind his TV antenna troubles. The concern for Sean expands beyond family to questions about mental health.

Concerned for Sean, Lizzy contacts their mother, hoping for guidance beyond emotional support. Their mother suggests Sean is simply a misunderstood genius, creating tension between concern and acceptance. The family dynamic becomes more complicated as they navigate care.

The weekend before the show, Lizzy's final piece burns on one side in the kiln. The accident threatens the consistency of the collection and adds pressure as she grapples with potential setback. She must decide how to salvage her work for the upcoming reveal.

Sean begins excavating a massive pit in his backyard, insisting he hears voices guiding him. Lizzy and others choose not to acknowledge the troubling signs, hoping to avoid a crisis. The scene underscores a mounting crisis that looms over the family.

Lizzy convinces their mother to come watch Sean, stepping in to ensure he is safe. She helps settle him after another episode, showing how the family tries to hold things together. The moment heightens the looming responsibility on Lizzy and her family.

At Lizzy's show, the family arrives, including Sean who has ridden the bus to get there. Jo shows up with the pigeon, bringing the bird into the gallery's orbit. The scene blends celebration with the fragile personal dramas playing out offstage.

Two unsupervised girls remove the pigeon's bandages, and the crowd watches as Sean releases the bird. Lizzy and Jo search for it, but the bird ultimately proves it is ready to fly on its own. The moment closes the day with a hopeful, liberating note aligned with the show’s themes of movement and release.