What Haas looked for, and began to find, in his last monochromatic work was what he finally realized most fully in color: a photography that was not dominated by what Richard Kirstel has called "the tyranny of the subject." Like those members of the New York School with whom he had most in common, and like another figure whose explorations must be factored into this equation, the late Aaron Siskind, Haas had grown tired of making pictures of the world and even of making images about it; instead, he'd become desirous of making images that were simply drawn from it. The teacher and theorist Henry Holmes Smith once wrote (in an essay on Siskind), "The question: 'What was really there?' becomes as irrelevant as what Monet's lily pond really looked like to Mme. Monet when she rode by on her bicycle." Haas's mature color images come to that same conclusion.
Blanche and Dorothy: “The Triangle” (season one, episode five): This is another early episode that sticks out for how well it sells the complicated dynamic among the three central women. A theme that comes up again and again is how men can come between the girls—especially Blanche and Dorothy, who both have domineering personalities and a lot of willpower. In this episode, a man Dorothy is dating makes a pass at Blanche, but Dorothy doesn’t believe it. The conflict and eventual resolution lay the foundation for a lot of what happens between Blanche and Dorothy over the course of the series—their friction, their grudging mutual respect. Rose’s sneaky do-gooding is not to be missed, either.