“Convicted of murdering SEVEN women” The seven is enunciated in Milioti's mouth even before she says it, most indicatively by the way her tongue presses into right side of her cheek - choices that emphasize how important these women were to her, as well as her connection to them. “Summer Gleeson, “Taylor Montgomery, Yolanda Jones, Nancy Hoffman Susanna Weekly, Devri Blake, and Tricia Becker, their names are worth saying”. It's a great bit of writing that conveys a surprisingly profound bit of understanding from writer John McCutcheon about the nature of being silenced. The crime is not merely family betrayal, nor the murders, or the sacrifice of an “innocent”, it is also the forgetting, the covering, the silence that covered these voices, is the same that now covers the room. “Victims are so quickly forgotten” our stories are rarely told”. The camera pans to the right to two Falcone women who have an air of recognition to the statement. It could be said that it is most likely each of these women has been victimized in some way. The mob is no less a misogynistic enterprise than the America it was born in, and a key element in Sofia’s story is that though she suspected and knew what her father had done she was in fact willing to be a good soldier and join in the silencing, but there's no protection from someone who hates the idea of your very existence is the lesson she gleaned from her experience. Johnny Viti (the always brilliant Michael Kelly) the family underboss/general has had enough, and tries to interrupt and end it, Milioti shoots him a look that in and of itself could secure her an Emmy, followed by the word “Yes and Hmm?”. It is not only meant to remind him that she's talking, but of what she has on him. She then returns to her speech. “I've had a lot of time to reflect, and I have to say I was genuinely surprised by how many of you wrote letters telling the judge that I was mentally ill..like my mother”. There is a “how dare you?” element to the cadence of “Like my mother” that speaks to the connection to her mother, which then reiterates the sickness of the act. This is fantastic writing consistently meeting fantastic performance. The flashback acts in concert with Milioti as the bucket in her well of emotion, ever so slightly rises. She chokes up as she says the very words, and in combination what we've seen prior, to how she found her mother, one death, and finding out her own father is responsible another death, and then her being punished and punished and punished for it a third it exhausts the audience connection to this family in a similar fashion to the way it exhausts hers. The moment pulled the bucket in my well as well, after all (and of course in varying degrees) who doesn't understand familial betrayal and what it does to ones heart?