This portrait of the "father" in an otherwise "normal" family (i.e. a heterosexual couple with one child, like a " nuclear family) can be considered “queer”. , because it deconstructs the idea of ​​heteronormative normality. The episode itself is a self-reflection in that it acknowledges his "weirdness" when the writer's mentor tells him to rewrite the emasculated main character in his screenplay as someone more manly. Needham negotiates “space” through the idea of ​​“temporality” in which queer storylines occupy spaces of strange temporalities (151). High Maintenance occupies a space of strange temporality because its characters often have no future. Normative time and space rely on a linear progression of their characters, which makes sense in the heteronormative context (Needham 150). With “Rachel” as in all episodes, the time given to the characters is fleeting, often deprived of satisfactory conclusions about their future. No episode demonstrates this better than “Helen.” Although "Rachel" presents a character within the institution of "family, heterosexuality and reproduction", "Helen" presents the viewer with an agoraphobic character, purchasing marijuana in order to establish humanist and romantic links with “The Guy”. The character lives only with his sick mother and does not venture out of his apartment. It already disrupts the idea of ​​normative television programming which favors the rhythms of family discourse, because the temporality of the family does not take this into account (Needham 145). The only space that exists is domestic space, where the progression of time is distorted because there is no way to distinguish days. "Helen" ends with the character alone in the kitchen, off-screen