All that drama, and we still haven't gotten to Andrea, Erik, and Goil. Let's rectify that now. Both Jonathan and Margaret start off by saying that the team had a lot of good ideas. But having good ideas and implementing them successfully are two different things, and these three had too much of the former and not nearly enough of the latter as far as the judges are concerned. For instance, referring to the structures as chandeliers puzzles and confuses Ben Bourgeois; Erik explains that when they decided they couldn't hang the chandeliers from the tent, they decided to go with a floor-mounted approach instead. Goil name-checks Dorothy Draper, much to the judge's approval, and lets slip that his original chandelier idea was "sort of mutated into something else." How did that happen, Jonathan wants to know. Andrea says she had her own idea of what Goil proposed and "then I figured out the structure of these pieces." Jonathan asked if Goil was pleased by this; I think we already know the answer. Jonathan also wants to know who changed Goil's design (Andrea, he says) and whether Goil thinks the original design would have turned out better (oh gosh yes). So why'd you let it happen, Jonathan asks not unreasonably. "At some point, you have to put your ego aside and then move forward with the design," Goil says. Bzzzzzzzzzzzzt! Jonathan replies: "Half of my challenge as a designer is navigating the psychological train to get my voice heard and to realize my vision." And so we get the abridged version of Goil's tale of woe: blah blah blah two-against-one blah blah blah left out of everything. Let's talk about the flowers that were Andrea's doing; Andrea wanted the flowers "to be slightly odd," and, in that, she was successful. "I thought it was a strange choice," Margaret says, and she does not say it in the admiring way Andrea was probably hoping for. "We didn't want to be safe," Erik said. "We were trying not to be predictable." You know what's a really unpredictable table arrangement? Live snakes. But those wouldn't have been a good idea either. Jonathan wants to know what Erik did; most of the conceptual ideas of the space, he says. So that means Erik's voice was the dominant one, Jonathan asks. Erik agrees. And that, viewers at home will realize, is the beginning of Erik's long goodbye. But let's have the judges go through the motions of hashing this out, just we don't have to trot out a Six Feet Under rerun to pad out the time.