Dana: "Dad, it slipped out..."
Jessica: "Say this shit to me one more time. And our daughter knows this about you? Like, cheating on me with Crazy Carrie wasn't enough, you've got secret deals with my one enemy in this house?"
Brody: "No, it's not like that. She found me, walked in on me praying in the garage..."
Jessica: "The fuck you say. Uh, BRB."
By the time Brody's assured Dana that she is absolutely in the clear and chased his wife back to the garage, Jessica's done wrecked shop.
Jessica: "No wonder you're always out here!"
Brody: "Yeah, you have to pray, like, all the time."
Jessica: "I don't even care why you did this or how this happened right now, all I care about is that you lied to me. Every time that you came in here, you were lying to me."
If I could send screenwriters of the world one little suggestion, it would be that you have to have everybody in the scene. Nine times out of ten when something pisses me off or feels wrong, it's because the person wrote the scene from one person's viewpoint, and the other character(s) is there as an object, to talk to or react to or whatever, which is how men see women anyway, which is why it happens so often.
In fact, I believe that if you look back through the Emmys and Oscars and the most-lauded shows and movies, though, I think the common thread you'll see is that what elevates good writing to Best Writing is that writing in which every person is present. You could watch or read the scene through every character's eyes, and it would still be vital and interesting and make sense. (Try it with your other shows this week and see what you decide about this.)
This show is one of -- if not singularly -- the best on television. Therefore, it's an interesting and educational exercise to play with sticking on Jessica's side of these confrontations, because it makes you a better person to stay outside yourself, it makes you a better viewer to cross the scene into the person you like least, and it provides you with a lot more appreciation of a scene or show or actor when you can see through their eyes. She's mean usually, she's aggressing here in particular, she's Betty Drapering his secrets we've conspired so long with him to hide, which means she's also attacking us in a way... And she has a valid point. She's actually in the right, here, if you think about it. But we've spent so long learning to love Nick, in spite of his one million problems, that you could miss all of that and just cut to, "She is a bitch." Which is absolutely true, but not the point here. This is: