A smiling mid-century housewife leans on her broom, gently sweeping a crimson puddle across a spotless kitchen floor. Beside her, the refrigerator glows like an altar to domestic abundance… pies, gelatin molds, casseroles, condiments, the full gospel of cheerful 1950s perfection.

And on the floor, half-hidden in the blood she’s pushing toward the fridge, lies a severed man’s head.

Honey uses vintage homemaker imagery to expose the violence and pressure buried beneath “good wife” Americana. A world that insisted women stay pleasant, silent, and endlessly accommodating, no matter what storm was raging at home. In this piece, the mask doesn’t slip; it refuses to. The smile stays. The mess gets cleaned. The problem is… handled.

The title, Cooler Heads Prevailed, becomes a deadpan punchline… a familiar idiom turned literal, dark, and hilariously unsettling. It’s funny because it shouldn’t be. It hits because it’s true.

The glowing fridge becomes a vault of domestic expectation, a symbol of the emotional labor women are told to refrigerate, store, or swallow whole. Meanwhile, the head on the floor is a fantasy of release, a moment of absolute control in a world that rarely grants women any.

Domesticity as theater. Violence as catharsis. Liberation as a private joke between women who’ve finally, unapologetically had enough.