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Battlestar Galactica Recap, Season 4, Episode 20, “Daybreak, Part 2”

The episode is about as audacious and ambitious a piece of television as I’ve ever seen.

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Battlestar Galactica Recap, Season 4, Episode 20, “Daybreak, Part 2”
Photo: Sci-Fi Channel

“Daybreak, Part 2,” the series finale of Battlestar Galactica, is about as audacious and ambitious a piece of television as I’ve ever seen. There’s basically no way the episode doesn’t end up being deeply polarizing (and, indeed, it already is), but outside of a few small moments, I found it pretty tremendous, first a fittingly epic action ending and then a sweet and enigmatic series of character endings. I suspect, as seems to often be the case with this show, that what I liked about the episode will end up driving the rage of those who hated it, but, as always, it really does come down to whether you’re more interested in watching the show for the characters or for the mythology. If you’ve been spending the last few weeks trying to figure out how discontinued Cylon model Daniel fits into things, you were probably sorely disappointed. If you’ve been spending the last few weeks, however, trying to figure out how the writers were going to close off the problematic Baltar (James Callis) character arc, then you were probably deeply satisfied. “I know about farming,” indeed.

(And I know we say it every week, but we really, really mean it this week. I’m going to spoil the hell out of this below the jump, so abandon this review unless you’ve seen the thing.)

I suspect what’s going to drive most of the anger over this finale is the fact that episode writer (and series mastermind) Ron Moore pretty much just issues a blanket “God did it!” to answer many of the series’s biggest questions. To be perfectly honest, I wrestled with whether this was an elegant way to close off the series’s obsession with mysticism or whether it was just a deus ex machina that served to cover up the fact that the series didn’t know the answers to some of its questions when it started and had built those questions up to such a degree that no answer would be satisfying. What tipped me over to the former, actually, was two things: the description of God as a force of nature and Head Baltar saying in the episode’s final scene that God “doesn’t like to be called that.” In a weird way, this avoided making God too much of a writerly conceit or an actual deus ex machina. It brought him, somehow, more down to Earth and suggested that, perhaps, he was of some other species, just hoping that some other species would get past its growing pains so someone would finally evolve enough to give him someone to talk to. To that end, he’s shepherding over and over and over and over and maybe this time (with us, specifically), he’s on the verge of getting it right. Battlestar has always had a weird strain of Gnosticism running through it (particularly in Baltar’s sermons), so the notion of God as a sometimes altruistic and sometimes destructive force that operates independently and can never be fully comprehended by our characters managed to plug into the series mythos fairly well.

It would be one thing if God had never been involved in the series and it took a late left turn into murky New Age mysticism in the last half-season, but God has always been in the details on Battlestar, like it or not. To a real degree, God has filled in for the technobabble Moore has often proselytized against. So, to that end, I’m not sure this WAS a classic deus ex machina (wherein the gods save the protagonist by, essentially, appearing out of nowhere). “Daybreak” was about a series of characters who end up staring into the face of the divine and, like Moses, have to turn away because they can’t fully comprehend it. Baltar’s perhaps on to something when he says that they’ve all experienced it but can’t quite understand it, but even he is unable to fully articulate what’s going on. I can see where that would seem frustrating, but it’s also in keeping with the series’s penchant for mixing up its relatively hard-SF setting with a weird, fundamentalist religious bent. (In this way, the “God” revelation recalls the series’s constant statement that the Cylons had a plan. The Cylons DID have a plan. It just didn’t really work out, and they had to keep improvising. That we’re dissatisfied with this suggests, ultimately, that we’re less willing to go along with loose ends all over the place in the science fiction genre—which is predicated, after all, on the idea that everything is explicable—than we would be in other genres. The finales for The Shield and, especially, The Sopranos had copious loose ends, but neither attracted the kind of grousing I’m already seeing on message boards.)

The “God did it!” portions of that first hour aside, I’m having trouble thinking of how big fans of the show would be disappointed in said hour. Everything that happened in that first hour of tonight’s episode (actually the middle hour of the finale proper) felt like the kind of action payoff the series has been promising for a long time. Battlestar has mostly eschewed huge space battles over the years, usually choosing to have said battles sputter out as quickly as they start or be averted through last-minute diplomacy. This has especially been the case in the fourth season, where every other episode felt like it SHOULD conclude with a massive space battle only to have the show GO OUT OF ITS WAY to avoid said space battles. (To my recollection, the only actual space dogfighting occurs in the season premiere, “He That Believeth in Me,” which aired almost a year ago.) It would seem that this was all because “Daybreak” had the series’s largest action sequence make up the entirety of its middle section, combining as it did all the space dogfighting you could ask for with the Galactica materializing directly in front of the Cylon colony, the big ships’ guns blasting at each other and various Galactica personnel making their way through the maze of corridors in both ships in pursuit of young Hera, whose rescue was the object of the mission.

For a while, I was concerned that the action sequence’s geography was completely inexplicable. Aside from the opening shots of the Galactica appearing right next to the colony, the subsequent shots of guns blazing and ships launching to do battle felt too chaotic by half. But episode director Michael Rymer kept slowly expanding our focus from the tight, docudrama style framing that has been the series’s hallmark to take a more epic view of what was going on as more and more of Adama’s (Edward James Olmos) ultimate plan was revealed. This was the show’s biggest action sequence since the marvelous Galactica-dropping-into-the-atmosphere moments of Season Three’s “Exodus, Part 2,” and this episode mirrored that one by never having Adama spell out his plan for the audience, choosing instead to let us see the plan as it unfolded without a hitch until Helo (Tahmoh Penikett) got shot in the leg, Athena (Grace Park) stopped to help him, and Hera raced off, leading to everything almost falling apart. The episode also made good use of the long sequence of all of the units checking in with Tigh (Michael Hogan) to set up that Lee (Jamie Bamber) was HERE and Starbuck (Katee Sackhoff) was HERE and Roslin (Mary McDonnell) was down in the sick bay and so on. This made it clear how the characters were split into smaller factions, which allowed the later explication of the plan coming together to work as seamlessly as possible.

But, really, there was just so much great, geeky STUFF going on in that whole middle hour that I’m tempted to just list all of it. (I mean, they had Centurions fighting each other! Awesome!) The final five using Anders (Michael Trucco) to override the other Cylon hybrids ended up being an inspired choice and brought back one of my favorite incidental characters. Boomer (Park, again) twisting Simon’s (Rick Worthy, an excellent actor who never got enough to do on the show when he was on) neck when she finally turned on Cavil (Dean Stockwell) and rescued Hera was a nice little moment for her, as was her final sacrifice when she turned the kid over to her mother (dignified by the show with a flashback to the heady days of season one, when she was still struggling to come to terms with who she really was). Hell, I even liked Baltar and Caprica Six (Tricia Helfer) looking over at their respective angel/demon/things and realizing that each had been plagued with one for so long. And I REALLY liked the arrival of Baltar, Six and Hera into the CIC, where things had obviously gone very, very wrong but we only saw the very tail end of it with Adama gritting it out and the blood of Cylon and human alike on the floor.

There’s some consternation over how chaotically the storyline ended, with Tigh and Cavil coming to a truce (Hera’s return to the fleet in exchange for the final five sharing the secret of resurrection with the Cylons) that was just as quickly undone by Tyrol (Aaron Douglas) realizing that Tory (Rekha Sharma) had killed his wife so, so long ago and interrupting the download of the resurrection intel to the Cylons so he could remove his hands from Anders’ goo-bath and murder her. Yeah, it might have been nice to see the humans and Cylons come to a truce, but would anyone have believed it was going to last when it was formed on as shaky a foundation as that? The sudden twist of having Tory’s duplicity revealed (even if it was too quickly telegraphed by having her say, “Hey, let’s let bygones be bygones huh?” nervously before sticking her hands in the goo) worked for me because there’s never going to be any such thing as a lasting peace for these characters or these races. On a purely structural level, I was tickled by just how long the show sat on that reveal (I had mostly put it out of my head until Tory’s line mentioned above). Most other shows would have dealt with that within a couple episodes of it happening. And it all concluded with the dual destiny hammer of Racetrack’s (Leah Cairns) corpse’s hand just happening to slip and hit the button to launch the nukes that took out the Cylon colony and THEN Starbuck knowing just how to enter the coordinates to get everyone to Earth. Only, this time, it was OUR Earth.

And here’s where I started to worry the episode was going to lose me. The reveal that Earth was a bombed out wasteland in “Revelations” had struck me as one of the series’s strongest moments, and reducing the fleet to utter despair in the wake of that revelation was the kind of gutsy decision the show was famous for making. (Actually, at first, I thought that there were two identical planets in the universe, one bombed-out and the other lush and new and with prehistoric humans wandering its savannahs, which would have been too preposterous for even me, but a quick revisit of “Revelations” confirms that the show played fair. We never actually see enough of dead Earth to prove conclusively that it’s our Earth. It’s just HEAVILY SUGGESTED.) But that ended up being the right idea from a storytelling point of view, since it left the audience thinking that any new home for the characters would be an improbable ray of hope, so, of course, that improbable ray of hope ended up being what we always thought it would be, arrived at after we had mostly forgotten it even existed.

From there, the series settled into a long series of perhaps slightly TOO indulgent goodbyes, hinged on the premise that the characters would fly all of their technology into our sun and then settle down as best they could among the natives and slowly, over the generations, lose the idea of who they had been. Obviously, there probably could have been more debate over Lee’s crazy idea of everyone just giving up their tech (the final hour seems to randomly turn technology into the enemy until you really think about what the episode is trying to get at), and I’m not sure everyone would go along with it just that easily, but it DID make a kind of internal sense. After so long wandering the wilds of space (the three-hour finale opens with a shot of the entire friggin’ Milky Way with good reason), I can buy that enough people would just be content to settle down on that impossibly green and blue world (seriously, have we EVER looked that lush and verdant?) and frolic through what appeared to be the default desktop wallpaper from Windows XP for the rest of time that they’d pretty much do whatever Lee said. I also get that Moore didn’t want to turn the final hour into some sort of hamhanded “Technology: Yes or no?” debate, but the sudden jump to “We shall fly our ships into the sun!” ended up too quickly jumping to the “no” side of the question and added to the sense that technology was being demonized, however inadvertently. On the other hand, they still have enough knowledge for now to at least build houses for themselves, to dig into the earth and grow things, to survive at a level above that of the hunter-gatherers around them. (And that final, lyrical passage of Anders flying the fleet into the Sun was just beautifully done by the VFX team, as was the shot of the Centurions heading off in the basestar to whatever awaited them.)

But no matter, because the character stuff down on our Earth was just gorgeously done on all levels, and it finally incorporated the flashbacks that had been interspersed throughout the three hours in a way that made them seem less like fascinating episode padding and more like the proper sendoff for the characters the show had always been about. Last week, these flashbacks struck many as indulgent. While I didn’t share in those concerns, I could definitely see where some would have them. The final two hours (even that action-packed middle hour had some of this material in it) more properly placed all of that in the context of the idea that this story is about these people and we’re going to see how they got started on the journey that led them to the Galactica (Roslin joins a presidential campaign; Adama rejects a cushy office job to go back to being a commander; Lee and Starbuck almost have sex but are interrupted by his brother/her fiancée sleeping on the couch; etc.). Too often, characters in TV shows or in science fiction works take on a too easily acquired mythic status. This can be one of the things people like about science fiction or about television, but Battlestar has always been careful to undercut that. If nothing else, these flashbacks serve as the ultimate reminder that for all of their moments of brilliance and bravado, these people are still just people, and their journeys have been full of pain and heartache.

And all of those flashbacks had a mirroring scene in the final hour that, once again, made them feel much more significant in the show’s structure as a whole. Anders talked about perfection, his smile lighting up the screen, right before he flew the ships into the sun. Tigh and Ellen (Kate Vernon) mused about the idea that they might just get some time to be together right before they finally had world enough and time. Adama, bristling at having to take a lie detector test, rejected the cushy desk job that would result, then finally found a few small moments of peace on a new world with the woman he loved. Roslin, of course, was finally able to let go of her inner strength (that she had drawn upon in the wake of her family’s death) and just … pass on gently in a beautiful little scene. (And while we’re handing out acting awards, check out Olmos and McDonnell in that scene where they’re watching the gazelles. Both are absolute perfection.)

I’ve made much of my desire to know what Starbuck had returned as in the last few weeks, but I found the show’s complete non-answer perversely perfect. It was clear that SHE had found the answer for herself (the look of peace on her face at the end was a new look for the character, and Sackhoff played it beatifically), and that ended up being enough for me. Again, the flashbacks helped, as we learned that her ever-present flirtation with death had been around long before the days chronicled in the series and that her greatest desire, to not be forgotten, would be realized, as she passed into mythology. Making the character a Christ figure and then having her just disappear (again, similarly to Christ) in the blink of an eye is going to enrage plenty of people who were hoping for a more concrete answer, but, as stated, I thought it worked, staying just enough on this side of concrete to keep it from being TOO ambiguous. She had fulfilled her purpose, and now, whomever sent her back was calling her home. (As Maureen Ryan points out, it’s hard not to watch that scene of Adama, Lee and Starbuck walking through the leafy green expanse of Earth and not see it as a kind of Holy Trinity analogue, though in this case, it’s the son who is left to bear witness, not the holy ghost.)

And, good God, then there’s Baltar, the character the writers often had no idea what to do with through the back half of this season. (I’ll go along with Moore’s assertion that Baltar had to be put in charge of his cult just so he could start to accept the role of the divine, but I REALLY HAVE NO IDEA why they ended up being so politically powerful OR why they were just randomly given guns back in “Deadlock.” I guess the writers just wanted to give Callis shit to do. Which is no big deal, since he’s so great, but it still would have been cool if it had, y’know, MADE SENSE.) “Daybreak” probably did the most to right his character more than any other. His flashbacks showed just what sort of person he was running away from becoming (his feisty farmer father), while his storyline—of joining the mission to rescue Hera and brokering the uneasy truce with Cavil—was the first time he’s been well-utilized since “The Hub.” His scenes with Six, though, threaded throughout the episode, putting a capper on a relationship that has always burbled away in the corner of the show and managing to make their reconciliation seem believable. And, ye gods, his breakdown after saying “I know about farming” was worth four seasons of deception and writerly indecision.

Baltar (or, at least, the “Head” version of him) also figures into the coda, which leaps 150,000 years in the future to the present (and now I feel sort of silly for saying only Lost would have a title card like “Thirty Years Earlier”; thanks a lot, BSG!). As Head Six reads over the shoulder of Ron Moore himself about humanity’s earliest known common ancestor (who turns out to be Hera, natch), she and Baltar commiserate about how our world has approached a level similar to the one the Capricans had reached, that we are on some sort of precipice wherein we might be smote or we might be spared. The robot montage that follows is a little goofy (and also inadvertently contributes to the sense that Moore has suddenly decided all technology is evil), but the pan from two homeless people past a racecar over to the screen displaying the robots is telling, I think. The homeless, forgotten by a society moving faster and faster, and the race car, which was impressive to many just 50 years ago but is now passé, are both symbols of a world that is constantly pressing forward, rarely stopping to ask just where the hell the end point is. The perhaps overly literal coda of the episode suggests that, yeah, we COULD end up like the Galactica folks, but we don’t HAVE to. We just have to stop and take a look at the things we’re passing by. For all the talk of God and destiny in the series, there’s plenty of free will to go around still, or so it would seem. And then as “All Along the Watchtower” (of course) blares the two angel/demon/things walk off into the Times Square crowd, gradually swallowed up by the mass of humanity (or, more properly, human/Cylon hybrids), until we can just barely see the platinum blonde head of Six amidst the crowd. And then she’s gone. Considering how prominently Helfer has featured in the show’s advertising, it’s about as good a visual metaphor for the end of a TV series as I think I’ve seen.

As I attempt to put a cap on not only “Daybreak,” which has so much in it that I’ll be unpacking in the months and years to come, but on the whole series (a series I will dearly, dearly miss, even if it aggravated me to no end from time to time), I am struck by just how Jungian it all ended up being. “All of this has happened before, and all of this will happen again” is as good a pop cult explanation of the collective unconsciousness as I’ve ever heard, and if we accept that the Galactica crew met and mingled with our ancient ancestors, then the series’s constant mashup of assorted classical literature and religious reference points takes on an even more amusing spin, as we imagine that these storylines were passed on to our ancestors and eventually took form in new shapes, arising again and again, the rough edges hammered off, until we had the myths and legends we now take for granted. Similarly, the power of Battlestar has always stemmed from just how much it seems like it has arisen, wholly formed, out of some primordial part of ourselves, as though it was just the show we needed at just the time we needed it. Much has been made of the show’s embrace of major social themes and plot points that recalled current events, but it also combined a heady brew of pulp fiction, religious mysticism and solid character drama. It closed with a note of hope, with a few moments of hard-earned grace. This ending, rooted as it is, so heavily, in our ideas of ourselves is somehow perfect. They aren’t people “just like us.” They ARE us.

Some other thoughts before we cross the 4,000 word mark:

• Seriously, if you didn’t much like last week’s “Daybreak, Part 1,” rewatch it with “Part 2.” It makes all the difference in the world towards making “Part 1” work. The episodes were written as a two-hour movie event, Moore says, and not intended to be split up like that.
• It seems like I pay homage to these folks every week, but composer Bear McCreary and the VFX team headed up by Gary Hutzel turned in awesome, awesome work as always. I really, literally don’t think I’ve seen anything on TV quite like that second hour, which looked like the most expensive thing in the history of the medium and put all other VFX sequences on the small screen to shame. It was suitably epic, something you can’t say about much TV with a straight face.
• I am TV-less for the time being (meaning my Big Love review—how much overlap IS there between those of you who read these reviews and those of you who read the BL reviews?—is probably going to be fairly late), so I was happy to attend a screening of the show at the Academy of Television Arts and Sciences. The show still blows up incredibly well on a big screen, and that really highlighted the terrific quality of the VFX work, which didn’t look cheesy on the big screen at all.
• Pleasantly unexpected in the episode: the amount of laughs. From Starbuck asking Athena not to tell Boomer the plan to Tigh yelling enthusiastically for strippers, this had more goofy moments than you might think.
• We did get a couple pretty definitive answers on a few points, and I think I was most satisfied with the reveal that the opera house was a kind of road map for how all of the characters involved would have to behave to get Hera to safety.
• I’m a LITTLE unclear on just why Hera was ultimately so important. She, obviously, led the fleet to our Earth indirectly and ended up being our ancestor or something (and I guess those are both pretty important things), but I’m still not sure why she was just so important in the show’s mythos. Still, I loved seeing her walking along between Athena and Helo, whom I had just assumed was dead, until he showed up with his awesome walking stick.
• As much as I’m glad the show came to a definitive end, a small part of me would have loved to have seen a fifth season about the misadventures of President Romo Lampkin.
• Seriously, Sci-Fi? SyFy?
• I guess the science fiction version of Chekhov’s gun didn’t really hold true here. I’ve long maintained that if you introduce a black hole in the first act, someone’s plunging into it in act three, and no one really did here, unless you count the detritus of the ruined Cylon colony, but that’s boring.
• And, on a personal note, when I first talked with Matt Zoller Seitz about recapping Battlestar Galactica for The House, he thought it was a great idea. “I don’t think that show gets the kind of intelligent discussion that its fans want and deserve,” I paraphrased him saying. In the early days of the job, I was incredibly nervous about doing it, but it’s become something I’ve really enjoyed, and I’ve really enjoyed talking with all of you over the last 40 episodes or so. I may return to blog “The Plan” this fall, and you can always read my Big Love, Breaking Bad and Lost recaps, if you’re so inclined, but if this is the end of the line for you, I appreciate your thoughts and your comments and your e-mails over the years. Writing about this show has been a tremendous privilege, and so has been talking with all of you. If you’ve got a question or if you just want to talk, feel free to e-mail me ([email protected]) or talk at me on Facebook. It’s been a great run, and you folks are a big reason for that. See you around.

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Review: City on a Hill Is a Bonanza of Character Detail and Hammy Thrills

When the series isn’t immersed in pulpy shenanigans, it aspires to be a sort of Bostonian The Wire.

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City on a Hill
Photo: Claire Folger/Showtime

Not since Gerard Butler’s riotous, bloody doughnut-eating turn in Christian Gudegast’s Den of Thieves last year has an actor plumbed the scumbag depths quite like Kevin Bacon does as wayward F.B.I. agent Jackie Rohr in Showtime’s City on a Hill. Everyone within the show’s various layers of Boston law enforcement seems to know Rohr, and not a single person likes the guy—not the co-workers who bristle at his presence, not the people who return his greeting with an immediate “fuck off,” and certainly not his mother-in-law, Rose (Catherine Wolf), who threatens to expose his serial infidelity by telling his wife, Jenny (Jill Hennessy), about his recent STD test. In retaliation, he grabs a model Red Baron plane—a memento from Rose’s late husband—from the mantelpiece and makes like he’s going to smash it. “You put me in the fucking doghouse,” he growls in his hoarse Boston accent, “and I’m gonna be like Snoopy and blow your shit right the fuck out of the sky.”

When City on a Hill isn’t immersed in such pulpy shenanigans, which find the casually racist Rohr doing things like brandishing a fish at an angry old woman who calls him a “white devil,” it aspires to be a sort of Bostonian The Wire. The series, set in the early ‘90s and based on an original idea by creator Chuck MacLean and executive producer Ben Affleck, constantly keeps one eye on the systems that contribute to the city’s rot as it moves through a fictionalized account of the “Boston Miracle” police initiative that statistically reduced violence in the city. One-eyed District Attorney Decourcy Ward (Aldis Hodge) is an idealist beaten down by what he sees, given to statements such as “I like what my job should be” to justify why he thanklessly works to improve the system. He’s black, so he gets the kind of scrutiny that doesn’t afford him any goofy bad-cop antics, but Hodge dials up the searing intensity with a wide-eyed stare, the only window to the drive and the outrage bubbling beneath his no-nonsense exterior. Every so often, it leaks through with a shouted line like, “I’m not their boy.”

Rohr and Ward fall into a mismatched partnership that’s surprisingly absent any of the explosive confrontations that typically characterize odd-couple pairings in film and TV. Their hesitant camaraderie just sort of happens as they recognize their mutual interests; even if they don’t like each other, they understand one another. And from there, the series unfolds the complications (of which there are many) and the key players (of which there are even more) that will figure into a wider arc that begins with a simple armored car robbery. Laying out all the different systems that figure into the story, though, makes the first few episodes somewhat slow-going; some scenes tend to devolve into a lot of bureaucratic jargon and off-the-cuff mentions of Boston locations that might lose anyone unfamiliar with the city.

Where the series excels, however, is in the level of detail it brings to its individual characters. Armored car robber Frankie Ryan (Jonathan Tucker), for example, works stocking a grocery store, and he’s often seen doing lottery scratch cards as if constantly on the lookout for alternative cash flow. When he cuts himself putting up a bathroom cabinet, it figures into foreplay with his wife, Cathy (Amanda Clayton); he holds up his bandaged hand to say he’s not afraid of a little blood while she goes to pull out a tampon “the size of a friggin’ bus.” And when Cathy suspects her screw-up brother-in-law, Jimmy (Mark O’Brien), of absconding with their money, she yanks the cabinet out of the wall to reveal the nook where they keep unlaundered cash. Here, Frankie’s cut hand, bathroom cabinet, and working-class lifestyle converge to describe his relationship with Cathy and the exact degree of her complicity in his operation. Elsewhere, Rohr’s menacing of the model plane neatly (and hilariously) outlines his living situation and the strained relationships that encompass it.

While it’s true that none of these characters are particularly unique even within the setting (Affleck’s own The Town features a similarly honorable robber stuck with a volatile sidekick), they feel dynamic enough that their familiarity ceases to matter. They all know their way around a punchy, profane turn of phrase, and they’re usually good for some kind of amusing sight, whether it’s Rohr’s coked-up air-drumming to a Rush song or Jimmy driving to see his kids in a car filled with balloons, singing along to Marky Mark’s “Good Vibrations” with a mouthful of Bubble Tape. Such a confident grasp of character goes a long way toward smoothing over the show’s somewhat clumsier big-picture narrative, as City on a Hill proves itself as effective at small, interlocking details as it is at purely hammy thrills.

Cast: Kevin Bacon, Aldis Hodge, Jonathan Tucker, Mark O’Brien, Lauren E. Banks, Amanda Clayton, Jere Shea, Kevin Chapman, Jill Hennessy, Blake Baumgartner, Catherine Wolf Network: Showtime

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Review: Years and Years Is a Captivating Dystopian Family Drama

The series manages to pile on the cataclysms without taking pleasure in the pain of its characters.

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Years and Years
Photo: Matt Squire/HBO

In his memoir Self-Consciousness, John Updike describes his early adulthood by saying, “I turned thirty, then forty,” and in doing so skips over a decade’s worth of information unnecessary to the reader. Russell T Davies’s miniseries Years and Years, which will launch on HBO following its run on BBC One, similarly makes economic use of time, but where Updike jumps into the future, the series sprints. Every so often throughout the four episodes made available to press, a searing montage pushes the world a few years forward, relaying key geopolitical developments—a landmark legal decision, a diplomatic falling out, an environmental crisis—before settling back down in a global order even shakier than before.

We experience these changes through the perspective of Britain’s Lyons family, which includes tough but caring matriarch Muriel Deacon (Anne Reid) and her grandchildren: Stephen (Rory Kinnear), a banker; Daniel (Russell Tovey), a housing officer; Rosie (Ruth Madeley), a school cafeteria manager; and Edith (Jessica Hynes), an activist. The siblings, their partners, and their children are Years and Years’s primary concern, and with each lurch into the future, their lives tend to get worse rather than better. All the while, Vivienne Rook (Emma Thompson), a fear-mongering pseudo-populist, launches and advances her political career, deploring the world’s degradation and promising to represent the true wishes of the British people.

At one point, the Lyons siblings hop on a conference call to react to one of Rook’s appearances on the news. Rosie appreciates Rook’s straightforwardness—the series opens with a shockingly candid and unempathetic on-air comment that Rook makes about the Israeli-Palestinian conflict—Daniel is horrified by it, and others lie somewhere in between. Rook is more than a little Trumpian, a resonant representation of the crassness that he’s made politically viable. And as Years and Years proceeds, this much becomes clear: Although it largely centers around the Lyonses, the series isn’t really about them, but about Rook. It’s about the potential for the world to operate in a way that enables Rook’s ascent and leaves people like the Lyons family staring slack-jawed at her demagoguery and electoral swashbuckling.

As Rook, Thompson seems to multiply the minutes she gets on screen with the ferocity and sheer gravitational pull that the actress brings to the politician. When she’s on television, Rook looks directly into the camera, at the Lyonses and at the viewer. And when she’s participating in a local debate, she defiantly stands at the center of the stage, in the middle of the screen, her opponents surrounding her like planets stalled in orbit.

The rest of the cast’s performances similarly ground the series’s socio-political thought experiment in human experiences. Kinnear, as Stephen, realizes a soft stoicism, a resilience undergirded by subdued positivity. When that façade finally cracks, following a death in the family, we know that Stephen doesn’t cry solely because of the loss; he’s also grieving a financial crash along with his increasingly fraught marriage, which together contribute to the gulf separating what he thought his life would be and what it has become.

Though thoughtful and moving in its exploration of such suffering, both individual and collective, Years and Years occasionally stumbles by insufficiently using its characters to contextualize its political world-building. At Rook’s debate, which Rosie and Edith attend, Rook wins over her detractors in the crowd with a swiftness that’s jarring given the weakness of her argument, which essentially justifies authoritarianism as a bulwark against the proliferation of porn. Rook’s victory feels artificial, like she manages to sway her doubters purely because the series needs her to in order to demonstrate the shortsightedness of voters. Rosie and Edith’s presence should, in theory, render Rook’s beguiling charm more believable, but the series fails to interrogate the reasons for the pair’s attraction to her.

Two monologues that Daniel delivers encapsulate the series’s sporadic inconsistency. In one, he holds Rosie’s newborn baby while questioning, aloud and at length, if it’s right to bring a child into a deteriorating world. As Daniel bemoans the banks and the corporations and fake news and more, he ceases to blink, his voice rising and quickening. He becomes a machine unleashing a diatribe that’s too neat to be convincing, the character of Daniel giving way to a Daniel-shaped megaphone. Later, though, Daniel tells off a xenophobic visitor to the refugee camp he works at in his capacity as a housing officer. This scene, in contrast to the earlier one, doesn’t burden Daniel with the weight of the world. Rather, it gives him the freedom to discuss what he’s personally and passionately invested in: the idea that refugees deserve all—and more than—the help they receive. Here, Daniel’s dialogue and Tovey’s performance are vastly more organic, emerging from within the character as opposed to simply flowing through him.

Perhaps the most significant aspect of Years and Years is the compassion with which it considers its characters. It would be easy for a series filled with so many cataclysms, both global and personal—nuclear weapon launches, deaths, infidelities—to err on the side of sadism in its depiction of that turmoil. But it takes no pleasure in the pain of the Lyonses. Instead, Years and Years recognizes that pain is edifying as well as transient, and it accordingly gives the pain that it inflicts space to evolve: to form, to torment, and to pass, like each year that comes and goes, taking more and more away with it.

Cast: Emma Thompson, Rory Kinnear, T’Nia Miller, Russell Tovey, Jessica Hynes, Ruth Madeley, Anne Reid, Dino Fetscher, Lydia West, Jade Alleyne, Maxim Baldry, Sharon Duncan-Brewster Network: HBO

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Review: Euphoria’s Depiction of Teen Hedonism Is Both Frank and Lurid

Euphoria’s central relationship is luminous, but the series struggles to develop its other characters.

2.5

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Euphoria
Photo: HBO

Sam Levinson’s Euphoria announces its self-consciously provocative nature within its first minute, when Rue Bennett (Zendaya) says that she was happy once, over an image of the girl, in fetus form, about to be born. Airplane engines begin to howl alongside baby Rue’s POV as she exits the birth canal, at which point the episode transitions to a shot of the second plane hitting the World Trade Center. She was born three days after 9/11. The juxtaposition here is loud and in-your-face, and though it’s tonally similar to the deluge of ironic trigger warnings that open Levinson’s film Assassination Nation, it has the benefit of some actual thematic coherence, for the way the open-with-a-literal-bang image acknowledges 9/11 as the unmistakable divide between Euphoria’s teens and everyone else.

Rue characterizes the world she grew up in as a chaotic, aimless place devoid of much understanding for her people her age, which leaves her generation concerned mainly with wringing out as much enjoyment from it as they can. And the series, which is adapted from an Israeli drama of the same name, depicts such teenage hedonism in frank, explicit terms: a high school world awash in pills, sex, and nude photos thrown to the winds of social media. The nature of these occasionally graphic depictions is complicated by Levinson’s consciously “attitude”-laden stylings: Are they graphic purely to shock, or to authentically portray what today’s young people go through, or both? Regardless, the series finds its character-driven groove by turning an empathetic eye toward the inner lives of its principal teens, observing their listlessness and small moments of solace as much as their outward pain.

Rue, we learn, is a drug addict fresh out of rehab who’s largely uninterested in getting clean. And while the show’s other teens feel their way through seedy meet-ups with older men, pursue self-actualization through porn, and cope with invasions of privacy, Rue provides the perspective through which we view nearly everything and everyone else. She narrates even the events that don’t involve her, lending them a general vibe of playful, sarcastic worldliness. She determines the flow of the action, freezing a sex scene outright for a digression on modern porn habits or summoning a cutaway gag, like a lecture on dick pics complete with projector slides. Zendaya plays Rue with a perpetual murmur and effortless remove, like an observer sitting on the sidelines watching the world go by, until she succumbs to a desperate, drug-seeking freak-out or one of the panic attacks those drugs are meant to distance her from.

The series tempers some of its heavier material with an often laidback atmosphere, a world of deep shadows drenched in multi-colored hues and dreamy hip-hop beats that belie the darkness in its corners. If the universe is falling apart around the characters’ ears, the result is that Euphoria’s characters see little reason to consider what encroaching adulthood will mean, to ruminate on what will come next when there might as well be no “next.” There’s only the all-encompassing “now.” “The world is coming to an end,” Rue says to justify her drug use, “and I haven’t even graduated high school yet.”

Euphoria’s best scenes are its oases of joy and humor, particularly the luminous relationship between Rue and Jules (Hunter Schafer), the new-in-town trans girl whose sunny disposition contrasts Rue’s overall remove yet masks a deeper restlessness. The chemistry between Zendaya and Schafer paints a believable portrait of a companionship only possible before adulthood, when you have as much free time as you have affection to distribute.

The two might have sustained the series by themselves, though Euphoria struggles to develop its other characters. Cassie (Sydney Sweeney), for example, is largely undefined beyond the sexual history she’s trying to move beyond, while her boyfriend, Chris (Algee Smith), seems to exist only to express discomfort about that history. Beneath his football-playing façade, Nate (Jacob Elordi) has a streak of violent calculation that dances on the edge of caricature. Only Kat (Barbie Ferreira) seems to develop beyond her basic template of virginal angst, mainly because the series resolves the issue almost immediately before sending her down a Pornhub rabbit hole on an amusing journey of self-discovery; her burgeoning sexuality comes to encompass an attractive classmate as much as a man on Skype who wants to be her “cash pig.”

The fourth episode only emphasizes the disparity between the show’s development of the teens. As the camera glides between multiple perspectives at the same carnival event, Jules has a scary revelation about an older, married man, Cal (Eric Dane), she recently hooked up with, while a panicked Rue searches for her sister, Gia (Storm Reid), who’s still reeling from Rue’s overdose prior to the events of the series. However, the more half-sketched characters, such as Cassie and Nate’s long-suffering girlfriend, Maddy (Alexa Demie), take drugs seemingly so they’ll have something to do for the duration of the episode. While it’s realistic that not all the characters would have intricate stories to engage in (Kat’s storyline is also comparably low-stakes), sidelining Cassie and Maddy feels like a concession that the series isn’t totally sure what to do with them beyond displaying their suffering.

The success of Euphoria’s teen drama ultimately depends on which teen it focuses on at any given moment. With Rue and Jules at the center, you feel the exhilaration of their friendship as much as a real concern for their growing troubles. But with its less fully developed characters, the series can feel like little more than a lurid performance of teenage pain.

Cast: Zendaya, Maude Apatow, Angus Cloud, Eric Dane, Alexa Demie, Jacob Elordi, Barbie Ferreira, Nika King, Storm Reid, Hunter Schafer, Algee Smith, Sydney Sweeney, Austin Abrams, Alanna Ubach Network: HBO

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Review: Hulu’s Das Boot Forfeits the Telescoped Focus of Its Source Material

The series transforms a story that captured something of the experience of war into a familiar melodrama.

1.5

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Das Boot
Photo: Hulu

One of the strengths of Wolfgang Petersen’s classic submarine drama Das Boot, based on Lothar-Günther Buchheim’s novel of the same name, is that it’s no glorification of the German war machine. Indeed, its shocking ending underlines the absolute senselessness of war and the meaninglessness of heroism. Das Boot is a war film that could only be made in a country where virtually everyone had experienced the horror of war firsthand, whether it was on the frontlines or cowering in a bomb shelter. But it’s also a story told strictly from the perspective of the gentile German sailor; women appear quite literally on the margins—at beginning and end, when the boat disembarks and returns—and non-gentiles are neither seen nor mentioned. War crimes are far from the film’s purview, and its sailors are, for the most part, not terribly interested in Nazism.

Johannes W. Betz’s new series solves this problem by flashing back and forth between the crew of a U-Boot captained by the young Captain Klaus Hoffmann (Rick Okon) and a plot of betrayal and subterfuge in the ship’s port in La Rochelle, France, centered around German Navy translator Simone Strasser (Vicky Krieps). In doing so, however, Betz’s Das Boot eschews much of what made the original film effective: the feeling that the viewer is stranded in the narrow gangways of the submarine on a mostly blind journey through treacherous waters.

Forfeiting the telescoped focus that keeps the film engrossing, the series substitutes hidden backstories and interpersonal melodrama that feels like it was pulled from the prestige-drama handbook. As the crew is assembled in the first episode, “New Paths,” we learn that the long-serving First Officer Karl Tennstedt (August Wittgenstein), a familiar Nazi type who’s been passed over for command of the ship in favor Hoffmann, is the son of a WWI hero. Tennstedt’s simmering resentment plays out, over the course of the four episodes available for review, as an escalating crisis of authority, as he grows increasingly bold in his defiance of the noble-minded Hoffmann, and sways the minds of several (rather easily convinced) enlisted men.

Meanwhile, Simone arrives in La Rochelle, where she expects to live and work alongside her younger brother, Frank (Leonard Scheicher), a radio engineer. When an accident on board Hoffmann and Tennstedt’s U-Boot damages the radio and seriously injures the ship’s engineer, Tennstedt summarily decides to assign Frank to the vessel. With no choice in the matter and suddenly facing an uncertain fate, Frank hands over to Simone a cache of materials he was supposed to deliver in a post-curfew rendezvous later that night.

In the second episode, “Secret Missions,” it’s revealed that Frank’s mission had something to do with a French girl he’s been seeing, Natalie (Clara Ponsot), and with a mysterious American resistance fighter named Carla Monroe (Lizzy Caplan)—well, only “mysterious” inasmuch as the series clumsily cultivates an air of mystique around her, all oblique camera angles and vague dialogue. On the brink of explaining her intentions to Simone, Monroe stops herself, mostly, it seems, to extend the mystery for another episode or two. “Probably better if you don’t know,” she says, though she might as well be addressing the camera.

It’s in this episode that the seams of Das Boot really begin to show—or, rather, its bulkheads start to crack. Almost every aspect of the shorebound storyline, which becomes the show’s main focus, is an exaggerated contrivance. In a scenario painfully familiar from a dozen cable dramas that have pulled it off more convincingly (see The Americans, Breaking Bad, Barry), Simone conducts her illegal dealings with Monroe’s resistance cell under the nose of Gestapo inspector Hagen Forster (Tom Wlaschiha). Forster has a professional relationship with Simone, and, he hopes, a burgeoning personal one. As he’s drawn ever closer to her, Forster becomes increasingly blind to her traitorous activities—though, naturally, episode four, “Doubts,” ends with him coming one step closer to discovering them.

This adaptation of Das Boot, which also incorporates elements from Buchheim’s 1995 novel Die Festung, transforms a story that endeavored to capture something of the experience of war into an overly familiar melodrama of obscure motivations, hidden backstories, and broadly sketched interpersonal conflict. The series may try to address Nazi terror in a way Petersen’s film leaves beyond its margins, but even its depiction of atrocity serves merely as a convenient motivator for familiar twists and turns. The sense of cheapness and naked commercialism that pervades the series makes its explicit depiction of disturbing violence—a death by firing squad, the gang rape of a Jewish woman by German sailors—feel unearned and, particularly in the latter case, completely irresponsible. The series can’t be counted on to deliver any insights on history or war, but compelling drama may be even further beyond its capabilities.

Cast: Vicky Krieps, Tom Wlaschiha, Lizzy Caplan, Vincent Kartheiser, James D’Arcy, Thierry Frémont, August Wittgenstein, Rainer Bock, Rick Okon, Leonard Scheicher, Robert Stadlober, Franz Dinda, Stefan Konarske Network: Hulu

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Review: Jessica Jones’s Third and Final Season Feels Like an Afterthought

As it nears the end of its run, the series doesn’t seem to have much more to say about trauma.

2

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Jessica Jones
Photo: David Giesbrecht/Netflix

The third and final season of Jessica Jones feels more like an afterthought than a farewell, an unevenly written retread that’s uninterested in breaking out of a well-worn groove. Trauma is at the center of the Netflix show’s world, with the eponymous superpowered private eye (Krysten Ritter) having conquered the lingering pain of sexual abuse and childhood domestic strife across the first two seasons. And it being a Marvel Comics property, Jessica Jones predictably scrutinizes such personal trauma through the lens of highly literal metaphor: In the first season, an evil ex-lover’s telepathic powers represent the way that abusers get into our heads, and in the second, an abusive mother’s super strength stands for the seemingly indominable power parents have over their children.

The new season saddles its hero with more trauma, both psychological and physical, but loses the real-life resonance of the show’s previous themes, becoming an exercise in self-reflexivity. Jessica Jones now squares off against a serial killer, Gregory Salinger (Jeremy Bobb), who’s the embodiment of misogynist male geekdom—which is to say, that corner of the internet that’s predisposed to objecting to woman-driven action properties like Jessica Jones.

In the season’s first episode, “A.K.A. The Perfect Burger,” Jessica is taken by surprise when Salinger shows up at her apartment in the middle of the night, hunting her one-night stand, Erik (Benjamin Walker). The encounter leaves Jessica injured and newly traumatized, and Salinger psychotically obsessed with his incidental victim. Salinger resents Jones for being what real-world toxic nerds would call a “Mary Sue”—or, as Salinger puts it, for “cheating,” for not appropriately earning her powers, and for being a “feminist vindicator.”

This new season’s use of allegory is a bit on the nose, which isn’t the worst sin for a superhero property, but Jessica Jones clearly has aspirations to be a character-driven drama. It’s an intent undermined by its characters’ tendency to feel like little more than signposts directing us to the show’s message. In contrast to David Tenant’s chilling performance as misogynist villain Killgrave in season one, Bobb doesn’t convey the menace or malicious seductiveness that might enliven Salinger’s often blandly scripted rants against women’s empowerment.

Salinger also targets Erik’s wayward sister, Brianna (Jamie Neumann), a sex worker whom Jessica tries to protect by foisting her upon Malcolm (Eka Darville), Jessisca’s neighbor and former assistant. This all intersects conveniently (and problematically) with Malcolm’s subplot, which concerns his flirtation with moral corruption as he works as a fixer for Jeri Hogarth’s (Carrie-Anne Moss) law firm. Brianna is stereotyped as an erratic, trashy prostitute who’s sexually available to Malcolm simply because she’s hiding out in his apartment. She’s characterized as a nuisance who becomes a kind of punching bag for the other characters, who talk about her poor life decisions in front of her as if she isn’t there.

Malcolm’s is one of three major subplots that take up much of the run time of the eight episodes of the new season made available to press. In the others, both Jeri and Jessica’s ex-bestie, Trish (Rachael Taylor), deal with their own moral transgressions. Of these, Trish’s story is the strongest. Newly equipped with (vaguely defined) superpowers, she aims to join Jessica as a superhero on the streets of Hell’s Kitchen, and she’s given a satisfying and resonant origin story in episode two, the Ritter-directed “A.K.A You’re Welcome.”

Jeri’s subplot, on the other hand, adds very little to a character already understood from previous seasons as self-serving and morally compromised. This arc, hardly more than filler, also features one of the season’s most regrettable scenes: a painfully kitschy seduction that involves Jeri’s former lover, Kith Lyonne (Sarita Choudhury), badly faking a cello performance as Jeri caresses her and the low-angle camera slowly tracks around them.

As for Jones herself, the series can’t shake the feeling that its main character has simply become her outfit. The season’s opening shot, which has her leather boot stomp into the frame in close-up against the unaccustomed environs of a sunny beach, even evokes the way her personality is summed up by tattered jeans and grimy leather. In the form of Salinger’s initial attack, she’s given a new trauma to work through, but after three seasons, this form of motivation seems more like an obligatory gesture than an exploration of character. By the time she’s brutally besting Salinger in an amateur wrestling match in front of the pre-teen wrestling team he coaches in episode seven, “The Double Half-Woppinger,” it’s clear that, as it nears the end of its run, Jessica Jones doesn’t have much more to say.

Cast: Krysten Ritter, Rachael Taylor, Eka Darville, Carrie-Anne Moss, Rebecca De Mornay, Jeremy Bobb, Benjamin Walker, Sarita Choudhury, Jamie Neumann Network: Netflix

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Review: Pose Season Two Looks to the Future with Its Head Held High

The series empathetically attests to the agonies that queer people to this day often have no choice but to suffer in silence.

2.5

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Pose
Photo: Macall Polay/FX
Editor’s Note: This review may contains spoilers.

One notable arc of the second season of Pose traces the success of Madonna’s “Vogue,” from the song premiering on radio in March 1990 to the moment it hit number one on the Billboard Hot 100 chart less than two months later. The show understands the song’s lucid appreciation of the ballroom as an aspirational space. Madonna’s dance-pop anthem was like a lifeline to those in the house-ball community, and almost all of Pose’s characters celebrate it without reservation. “Everything is about to change. I can see it clear as day!” says Blanca (Mj Rodriguez), emboldened by the song to chase after her dreams.

Which is to say that Pose doesn’t bow before the altar of wokeism, at least not in the four episodes made available to press ahead of the new season’s premiere, knowing that the conversation about the song erasing voguing’s roots in a community’s daily struggles wasn’t one that many people were having in 1990. But the show does seem interested in the idea that the global success of “Vogue” was blinding to some in the drag-ball community. Can a queer person of color living on the fringes of society actually harness Madonna’s blond ambition? And from the spectacle of drag emcee Pray Tell (Billy Porter) reading the riot act to Candy (Angelica Ross) for coming to one show as a simulacrum of Madonna, voguing while dressed as one of the singer’s “Express Yourself” personas, the answer would seem to be a resounding no.

There’s a sense that Pray is being rough on Candy because he recognizes what we’ve long known about her, and what the season’s third episode makes sure that we don’t forget: that she has no problem distinguishing fantasy from reality. Witten by Our Lady J and directed by Janet Mock, the episode splits its time between the budding romance between Angel (Indya Moore) and Lil Papi (Angel Bismark Curiel) and the aftermath of a client (Frank De Julio) dying during one of Elektra Abundance’s (Dominique Jackson) shifts at the Hellfire Club. Tonally, the episode walks a high-wire act that’s empowering—for the way it regards Angel and Lil Papi in their bliss as stars of a Hollywood melodrama that never was—and ballsy—for the way it unearths humor and pathos in equal measure from everything that leads up to Candy convincing Elektra to not report her client’s death to the authorities.

The episode is perhaps too easily understood as an imagining of what must have led to one Paris Is Burning participant, drag performer and dressmaker Dorian Corey, possibly murdering and storing an ex-lover’s dead body in a closest inside her apartment for approximately 15 years. (The man’s mummified corpse was only discovered after Corey’s AIDS-related death.) But the point of the episode, like some long-delayed eulogy, is to empathetically attest to the agonies that queer people to this day often have no choice but to suffer in silence. Too often, though, the series goes one step further by blaring that message out loud, with dialogue that suggests a kind of PSA speak. That isn’t so much an issue in scenes that see the characters fighting the menace of AIDS, as Pose knows that the gay community raised awareness of the disease in the bluntest of ways, but in various scenarios, like Angel’s pursuit of her modeling career, that are beholden to all manner of coming-of-age and aspirational clichés.

The cast list for the new season reveals that Charlayne Woodard, as Helena St. Rogers, will be returning at some point, which goes a long way toward explaining why it appears as if Damon (Ryan Jamaal Swain) and Ricky (Dyllon Burnside) are just hanging around in the background of the first four episodes as if they’re waiting for something, anything, to bring them to the foreground. The stage may be lovingly ceded to Angel and Lil Papi, but after a while, it just feels as if the lovebirds are going through all the same soap-operatic motions that Damon and Ricky did in the first season: Angel is so desperate to be a star that she opens herself up to being exploited by a smarmy photographer (Alexander DiPersia), and after she and her friends hand him his ass in a proud show of unity, Angel gets her first break, which just so happens to occur at the exact moment of a date she has with Lil Papi.

Something, though, that we do know for sure by the end of the fourth episode is that Pose isn’t concerned with putting any allies on blast. If you’re in the know about the history of New York and the AIDS crisis, then you’ll instantly recognize nurse and activist Judy Kubrak (Sandra Bernhard) and dog-toting real estate agent Frederica Norman (Patti LuPone) as stand-ins for Linda Laubenstein and Leona Helmsley, respectively. And if Judy, who joins Blanca in a crusade to get Pray Tell to start taking AZT, is celebrated for being a small-scale hero, Linda very easily invites the audience’s scorn for threatening Blanca after discovering she’s trans. But it’s an invitation that feels too easy, too cartoonish, especially in the context of the show’s almost Disney-fied—or Glee-ful—depiction of New York during this time period.

There’s a disconnect between the show’s aesthetics and its subject matter that feels especially apparent when one major character shows up dead in episode four. The moment certainly lacks the immediacy of the horrific moment from The Deuce’s first season when a john throws Pernell Walker’s Ruby out of a window like a piece of trash. Director Ryan Murphy knows that you can assert such a woman’s humanity in more than one way, but the sentimentalized theater of this episode is the stuff of cognitive dissonance. Because the prior three episodes give the short shrift to the character’s investment in changing ball culture, to tailoring it to her strengths, the moment that she’s celebrated for influencing that culture feels unearned. If hers wasn’t a dream that ever felt like it was her own, that’s because it’s the stuff of narrative convenience, a setup for a fall that, in the depiction of its aftermath, ironically links Pose to Madonna’s “Vogue” by making reality seem a little less dark than it really is.

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Review: Season Five of Black Mirror Regards Our Grim Future with a Smirk

The new season recalls the most human elements of past episodes while levying urgent indictments of the present.

3.5

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Black Mirror
Photo: Netflix

Season five of Black Mirror offers three new episodes that envision a predictably worrisome slate of side effects to humanity’s technological reach outpacing its intellectual grasp. But in offering dystopian visions that hew closer to reality than they have in past seasons, these episodes exceed the show’s promise of nightmarish hypotheticals. While the series has on occasion veered toward alienating, high-concept bleakness—as in season three’s “Playtest” and season two’s “White Bear”—season five maintains an empathetic focus on the characters struggling to navigate grim new worlds.

Series creator and writer Charlie Brooker employs a variety of familiar storytelling models to construct the season’s overarching theme, which generally concerns the unforeseen fallout of our shifting media diets. In the melancholic “Striking Vipers,” a marriage is endangered by the husband’s new obsession with a virtual reality game. Brooker moves his focus to social media in “Smithereens,” a claustrophobic hostage thriller, and to the music industry in the darkly comic caper “Rachel, Jack and Ashley Too.” Each episode envisions upheavals in a different social construct, from traditional masculinity to celebrity culture, but Brooker’s consistent focus on media as the trigger for transformation lends the stories a foreboding thread.

The show’s directors match Brooker’s ingenuity, tailoring an immersive style for each episode. In “Striking Vipers,” Owen Harris fixates on the alienation felt by Danny (Anthony Mackie), a man experiencing a crisis of conscience, by framing the character in wide shots set against drab backdrops and cityscapes; it’s a pointed contrast to the colorful environments and dynamic camera movements Harris employs when Danny is gaming. In “Smithereens,” which follows a distraught rideshare driver (Andrew Scott) who takes a customer hostage (Damson Idris), director James Hawes presents the driver either in tight close-up or from the far-away perspective of police and gawking onlookers, highlighting the gulf between how the world perceives the man—as a terrible curiosity—and his own intense sense of victimization.

The relationship between perspective and perception is similarly central in “Rachel, Jack and Ashley Too,” the episode with the most complicated premise of the season. Miley Cyrus stars as Ashley, a singer who wants to transition from glittery pop to more challenging material, much to the horror of her exploitative handlers. As the episode evolves into a scathing indictment of the celebrity industry (and offers a startling vision of artificial intelligence), “Rachel, Jack and Ashley Too” fosters our genuine concern for Ashley’s mental state—in part as a result of the savvy casting of Cyrus, a transformative pop star herself, but also, and more crucially, because the episode reveals much of what happens to Ashley from the relatable perspective of Rachel (Angourie Rice), a lonely and adoring teenage fan.

While none of these episodes are as nihilistic as the show’s grimmest installments to date, they remain imbued with snarky, topical satire and dogged cynicism. “Smithereens” portrays a social media network that, with its scrolling newsfeed and reliance on hashtags, is unsubtly modeled after Twitter. Even less subtle is the character of the platform’s man-bunned creator, Billy Bauer (Topher Grace), who’s clearly a sketch of Twitter co-founder Jack Dorsey. Brooker doesn’t veil his view of the real-life tech mogul: When Bauer’s service ignites (and acts as a livestream of) an international hostage situation, he’s pictured peacefully meditating in Utah, both figuratively and literally above the fray he helped create. When eventually called for help, the communications magnate is powerless, no longer able to grasp the magnitude of his creation, and reduced to speaking in platitudes.

By targeting forces (and people) who already exist in reality, Brooker couples the show’s broad anxieties with a tinge of righteous anger. Coupled with the season’s character-driven focus, the specificity of the show’s grievances represents a welcome evolution. With stories that recall the most human elements of Black Mirror’s past episodes, while levying urgent indictments of the present, the series that’s always worked to imagine a dark future seems to be wondering if we haven’t already crossed into the dystopian abyss.

Cast: Andrew Scott, Anthony Mackie, Miley Cyrus, Topher Grace, Damson Idris, Angourie Rice, Madison Davenport, Yahya Abdul-Mateen II Network: Netflix

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Review: Season Five of Luther Is Undermined by a Sense of Inevitability

As the series has continued, it’s grown more outlandish, oppressive, and removed from the things that made it so captivating.

1

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Luther
Photo: Des Willie/BBC America

Time has not been kind to John Luther (Idris Elba), the wool-coated supercop haunted by the horrors of all the things he’s seen on the job. To be fair, what detective wouldn’t be traumatized living and working in the version of London offered up by BBC’s Luther? It’s a concrete sprawl where every crack in every grimy back alley seems to conceal some ultraviolent psychosexual serial killer. This is a gloomy, frequently ridiculous series that survives on the back of Elba’s staggering intensity as a volatile, obsessive detective more than willing to skirt the law as long as it catches him a killer. But as the series has continued, it’s only grown more outlandish, more oppressive, and more removed from the things that made its inaugural season so captivating. And the show’s belated fifth season, coming over three years after the two-part fourth season, hardly closes the distance.

It’s not for lack of trying, of course. For the first time since the beginning of the series, Alice Morgan (Ruth Wilson) returns to the center of the story to throw a wrench into Luther’s professional and private life. Wilson is, expectedly, adept at selling her character’s amusing sociopathy with every thin, dark smirk. Unfortunately, though, Alice’s storyline entirely concerns her attempted revenge against East End gangster George Cornelius (Patrick Malahide), whose repetitive, nonsensical attempts to murder Luther were the most tiresome element of the prior season. With Luther now caught in the crossfire, the resulting feud is so central to the season that it all but pushes the season’s murder investigation to the side in favor of various square-offs with Cornelius’s gun-toting goons.

Luther has always worked best as a trashy mystery series because its main character’s explosive, extralegal tendencies contrast most sharply with the show’s depiction of a structured, by-the-book police world. The supporting characters, when they aren’t being killed off with alarming frequency, marvel at Luther’s alternately clever and outrageous attempts to flout the rules. However, writer and creator Neil Cross’s growing reliance on action elements has come to mean abandoning the contrast between Luther’s methods and expected police procedure in favor of throwing him into a murky criminal underworld. There’s simply less dramatic intrigue and less of an audacious thrill when he’s breaking out of his restraints to fight a room full of gangsters than when he’s punching a murder suspect in the street to get a sample from the man’s bloody nose in an absurd evidence-planting gambit.

Alice previously served a similar juxtaposing function. Despite her chemistry with Luther and their mutual attraction, her teasing, nihilistic amorality and even-more-extreme methods conflicted with his determination to protect life; their developing relationship threatened his job, his loved ones, and his own beliefs. But at this point, the two simply know each other too well for her wild-card antics to surprise Luther, and by extension the audience. Her ability to throw him off balance is muted since he mostly just seems tired of putting up with her rather than shocked at her insistent, ultimately predictable attempts to lash out at Cornelius.

That same sense of exhaustion and inevitability hangs over the entire season, undermining its usual attempts to shock us with plot twists that bring death and violence. The serial killer this time around, a surgeon (Enzo Cilenti) with a fetish for turning people into pincushions, may have strong visual iconography through the eerie combination of a clown mask and a glowing hood meant to fool CCTV, but his grisly compulsion is more of the same for a series that loves to plumb the depths of how gory a series can get. Once Cornelius becomes the umpteenth person to seriously threaten the lives of the supporting characters, you aren’t surprised so much as left to ruminate on the diminishing returns, remembering just how many names have already been scratched out of the show’s opening credits. The show’s concept has long revolved around how everything Luther has been through has left him haunted, but now, in the fifth season, it does little more for viewers than leave them numb.

Cast: Idris Elba, Ruth Wilson, Dermot Crowley, Michael Smiley, Wunmi Mosaku, Enzo Cilenti, Hermione Norris, Patrick Malahide Network: BBC America

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Review: Season Two of Big Little Lies Fails to Justify Its Existence

The series works best when it focuses on intimate, human moments rather than on broad social critiques.

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Big Little Lies
Photo: Jennifer Clasen/HBO

Directed by Jean-Marc Vallée and adapted by David E. Kelley from Liane Moriarty’s novel, the first season of Big Little Lies told a complete story, resolving the murder mystery that drove its primary storyline and successfully exploring the bleak underbelly of the affluent coastal city of Monterey, California. As such, the foremost question facing the show’s second season—directed by Andrea Arnold and based on a story by Moriarty and Kelley—is an existential one: Is this follow-up really necessary? Though the three episodes made available to press are enjoyable enough, thanks largely to the cast’s continued strong performances, they’re weighed down by heavy-handed writing and an inchoate grasp of what powered the first season—namely, its subtlety, surprise, and emotional murkiness.

Season two begins about a year after the so-called Monterey Five conspired to cover up the circumstances of Perry Wright’s (Alexander Skarsgård) death. Some of the group’s members have fared better than others in the time since: Madeline Mackenzie (Reese Witherspoon) is thriving as a real estate agent, Jane Chapman (Shailene Woodley) has settled into a job at the aquarium, and corporate hotshot Renata Klein (Laura Dern) is being featured on magazine covers. But Bonnie Carlson (Zoë Kravitz), who pushed the abusive Perry down a flight of stairs to protect his wife, Celeste (Nicole Kidman), struggles with the guilt of her actions, while Celeste doesn’t quite know how to grieve for the man she still loves.

Perry’s mother, Mary Louise (Meryl Streep), has come to stay with Celeste and help her care for her twin sons (Cameron and Nicholas Crovetti). She also suspects that Perry’s death wasn’t a total accident and works to find out the truth. Mary Louise is a master of aggression, both passive and active, and Streep delivers the character’s critiques of Madeline with a quiet monotone that’s at once grandmotherly and acidic. Even among a cast as strong as the one assembled here, the veteran actress commands every scene she’s in. But as Mary Louise resists Celeste’s narrative of abuse—she wonders, for instance, why her Celeste didn’t tell the police that Perry beat her—her dialogue grows so tired, so backward, as to feel purely mechanical. Mary Louise as an acerbic grandma is compelling, but Mary Louise as a Me Too bogeywoman is a bore, little more than a repository of eye-roll-inducing, reactionary pushback against abuse victims. Her symbolic significance comes at the cost of her personhood.

Which is to say that Big Little Lies works best when it focuses on intimate, human moments rather than on the social critiques that it clumsily handles. For one, watching Madeline and her husband, Ed (Adam Scott), face a personal reckoning is engaging because we care about these characters and understand the stakes of their conflict—and the series doesn’t compromise their interiority by forcing them to represent a broader social issue. The poignancy of their disillusionment suggests that the season might, in fact, justify its own existence. But the series consistently undercuts that potential. Bonnie’s mother, Elizabeth (Crystal Fox), accurately remarks that there aren’t many black people in Monterey, but then it errs uneasily close to stereotype by giving her—one of only a small handful of black characters—possibly prophetic visions and an affinity for healing crystals and other talismans.

The show’s themes of abuse and sexual violence are urgent and timely, which makes its shoddy treatment of them all the more disappointing. Big Little Lies also takes on matters of desire, wealth, and sexism, but does so with brute force and repetition. When Madeline rails against the unfairly different expectations people have for fathers and mothers, she offers no original perspective on that common double standard; in the end, it’s as if the scene is relying solely on Madeline’s zeal to hide its trite writing. Later, a young field-tripper at the aquarium asks Jane why pretty things tend to be dangerous. It’s a lazy exchange that’s similarly emblematic of the show’s insistence on shouting its themes.

Save the occasional cinematographic flourish, the non-spoken tools of film and television have come to kneel before the power of the word in the second season of Big Little Lies. Even the show’s soundtrack serves as a way to squeeze more words in: While the songs featured throughout these episodes are definitely capable of generating mood—as was the case last season—their lyrics regularly and agonizingly describe the drama that we’re witnessing. The spectral cover of REO Speedwagon’s “Keep on Loving You” that plays during a conversation about a crumbling marriage is haunting, but its beauty is shorn by how on the nose it is. The song, in this context, is exceptionally pretty but ultimately meaningless, a bunch of notes vanishing into the nearly hollow shell where Big Little Lies used to be.

Cast: Reese Witherspoon, Nicole Kidman, Shailene Woodley, Zoë Kravitz, Laura Dern, Meryl Streep, Alexander Skarsgård, Adam Scott, James Tupper, Jeffrey Nordling, Kathryn Newton, Sarah Sokolovic, Crystal Fox, Iain Armitage, Darby Camp, Cameron Crovetti, Nicholas Crovetti, Ivy George, Chloe Coleman, Robin Weigert, Douglas Smith Network: HBO

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Review: The Handmaid’s Tale Remains Captivating and Tedious in Its Third Season

The series successfully creates an atmosphere of dread and uncertainty, but its withholding of catharsis can be wearying.

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The Handmaid's Tale
Photo: Hulu
Editor’s Note: This article may contain spoilers.

In his review of Volker Schlöndorff’s 1990 film adaption of The Handmaid’s Tale, Entertainment Weekly’s Owen Gleiberman called Margaret Atwood’s fantasy of a reproductive dystopia “paranoid poppycock,” and the author’s fear of a totalitarian regime birthed from religious fundamentalism “wildly overestimate[d].” It’s easy to forgive Gleiberman for his skepticism and naïveté, even at a time when the conservative forces that currently drive our country’s discourse had already firmly gripped the body politic. Few could have imagined that the social progress we’ve made since then would not only unearth the rot festering beneath the surface of civil society, but that the backlash from a small yet virulent minority of white nationalists and their silent enablers would be so corrosive.

No, America isn’t Gilead. But it might be something altogether more insidious. That Hulu’s The Handmaid’s Tale came when it did, premiering in the months following Donald Trump’s inauguration and the birth of the Women’s March movement, was a perverse sort of kismet. And in its third season, the series remains unsettlingly relevant—a harbinger for the consequences of complacency and the slow, oppressive creep of authoritarianism.

By the start of its second season, The Handmaid’s Tale had already begun to expand beyond what was conceived in Atwood’s novel. Early on in the new season, it becomes apparent that, while June (Elisabeth Moss) continues to be our eyes inside the Republic of Gilead, this is no longer her story. When her lover, Nick (Max Minghella), learns that she remained in the country after he helped arrange for her escape at the end of last season, he warns her, “You’re going to die here.” She knows it, and in some ways, it feels like her story has died too.

Though June’s quest to save her daughter, Hannah, is still one of the show’s implicit and explicit objectives, it’s no longer the principal driving force. Instead, it’s the stories of two other women, who have the potential to destroy Gilead from within and without, respectively. Emily (Alexis Bledel) is adjusting to life in Canada after fleeing Gilead with June’s baby daughter, Nicholle, and small moments—like her nonplussed reaction to being told that her cholesterol is “a little high”—are revelatory. Whether or not her character will emerge as a political force in opposition to Gilead, she’s a hero to those still held prisoner there, and her very existence as an openly gay, highly educated woman, is itself an act of resistance.

First and foremost, though, this season is Serena’s (Yvonne Strahovski) story, as June gently but persistently nudges her to take more control of both her fate and that of the women and female children of Gilead. In the exquisite fourth episode, “God Bless the Child,” the two conspire together at a neighbor’s house; Serena offers June a cigarette and the pair lean back in their lounge chairs alongside the indoor pool. A shift has occurred: The women have control now—if fleetingly—but rather than cut to a wide shot, director Amma Asante opts for a close-up of June as she takes a drag, the smoke wafting in front of her fuming face.

Perhaps that’s because Asante knows what we don’t: that Serena will, once again, flip on June. What can make The Handmaid’s Tale so tedious isn’t necessarily its pace—after all, progress is rarely linear and part of the show’s genius is the sadistic way it forces us to endure June’s perpetual captivity—but its characters’ inertia. That’s why watching Serena’s evolution has been so satisfying, and her backsliding so maddening. Strahovski’s carefully calibrated performance has made Serena’s transformation from oppressor to freedom fighter feel inevitable, but the show’s writers seem determined to keep her as a foil for June.

In the climax of the otherwise enervating sixth episode, “Household,” June and Serena—two women utterly subjugated by a fundamentalist patriarchy that Serena helped design—quietly and devastatingly tear each other down inside the Lincoln Memorial, desecrated during the Second American Civil War. It’s a powerful juxtaposition that feels understated compared to the heavy-handed (or, rather, winged) imagery from earlier in the episode that recalls the instantly famous shot of Daenerys and Drogon in the Game of Thrones finale.

Bradley Whitford’s Commander Joseph Lawrence, the founder of the colonies where sterile women are forced to excavate toxic land, is almost as frustratingly capricious as Serena. He may have tried to help June escape last season, but now he’s content to toy with her like a cat would a helpless mouse. During a riveting argument with June in the third episode, “Useful,” Joseph articulates perhaps the most compelling case yet for the motivations of those who created Gilead. Despite his obvious contempt for people, he sees his cause as noble: He’s “saving the planet,” and “replenishing the human race,” he tells her, before seething, “What did you do to ever help anyone?” It’s a question she can’t answer.

Aunt Lydia (Ann Dowd), too, continues to show glimmers of humanity, and as always, they’re prone to evaporating in often-explosive instants. It’s only in “Household,” when she sees the methods with which handmaids in D.C. are silenced, that the empathy she clearly has for June and the other handmaids lingers for a spell. The moment hints at some deeper truth about Lydia and one imagines a peek into her former existence would go a long way toward making her feel less like a one-dimensional villain. Even merely having one of the girls under her charge ask her about her past would provide an opportunity to humanize a character whose backstory and motivations seem to be richly drawn—if only in Dowd’s own head.

June is given ephemeral moments of empowerment, like at the end of “Useful,” when she ruthlessly turns Joseph’s attempt to implicate her in his crimes into a power play for the resistance. But one gets the sense that stasis is the show’s endgame. Hulu has suggested The Handmaid’s Tale could continue for 10 seasons, and Gilead’s increasing brutality and fanaticism adds new layers to our macro understanding of this oppressive society’s evolution. But while the writers have successfully created an atmosphere of dread and uncertainty that echoes that of the show’s characters, the withholding of catharsis can be wearying. Like society itself, the series resists progress at its own peril.

Cast: Elisabeth Moss, Yvonne Strahovski, Ann Dowd, Joseph Fiennes, Alexis Bledel, Bradley Whitford, Max Minghella, Madeline Brewer, O. T. Fagbenie, Samira Wiley, Amanda Brugel, Ever Carradine, Clea DuVall Network: Hulu

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