This portrayal of the "dad" in an otherwise "normal" family (involving a heterosexual couple with a child, mirroring a "nuclear family") can be seen as "queer", as it deconstructs the idea of ​​heteronormative normality. The episode itself is self-reflexive in the way it acknowledges his "queerness" when the writer's mentor tells him to rewrite the emasculated main character in his script as someone more manly. Needham negotiates “space” through the idea of ​​“temporality” in which queer plots occupy spaces of strange temporalities (151). High Maintenance occupies a space of strange temporality as its characters often have no future. Normative time and space relies on its characters being given a linear progression, which makes sense in the heteronormative context (Needham 150). With “Rachel” and indeed with all episodes, the time given to the characters is ephemeral, often deprived of satisfying conclusions in terms of the future. No episode is better than "Helen" at demonstrating this. While “Rachel” demonstrates a character within the institution of “family, heterosexuality, and reproduction,” “Helen” introduces the viewer to an agoraphobic character, who buys marijuana with the goal of forming humanistic and romantic bonds with “The Guy ". The character lives alone with his sick mother and does not venture out of his apartment. He already disrupts the idea of ​​normative television programming that privileges the rhythms of family discourse, since the temporality of the family is not taken into account (Needham 145). The only space that exists is the domestic one, where the progression of time is distorted because there is no way to distinguish the days. “Helen” ends with the character standing alone in the kitchen, off-screen