Don’t Stop Belieeeving

Like many other people, I kind of called it quits on The X-Files around the 7th or 8th season. I checked in on Fox Mulder and Dana Scully every so often, but after 7 years, Mulder had a lot of vacation days. He was regularly nowhere to be seen, and who could blame him. It also felt like creator Chris Carter dug himself deeper into evermore incomprehensible conspiracies, so the series finale (season 9, double episode 19) came as a relief.

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Quality Drama
When the FBI duo came back, in the 2008 movie I Want to Believe, it proved everybody’s point that The X-Files were done. Until Hollywood began digging up graves of past successes, that is. And me too, got excited about a return of Mulder and Scully on the small screen. Call it an inclination to nostalgia, a chance to relive my first encounter with the show, call it what you will. Fact is, The X-Files brought movie quality to television drama in 1993. Carter changed the game. It took however another decade before the game was actually changed, with 24, Alias and The Sopranos as the first wave of shows that meant business. There’s more quality drama out there than ever now, more competitive outlets with onorthodox play books all getting a piece of the pie. It will be very interesting to see how The X-Files (albeit with only 6 episodes in 5 weeks) is going to fare amidst all these hungry sharks – X’s own offspring – in the water.

My Struggle
Season 10, episode 1, titled ’My Struggle’, takes Mulder (David Duchovny), Scully (Gillian Anderson), Skinner (Mitch Pileggi) and The Cigarette-Smoking Man (William B. Davis) out of retirement. Carter has big plans for them, because the old conspiracy’s dusted off, repackaged and very 2016. Everything they missed out on these past 14 years, plays a vital part in one giant scheme. In terms of special effects, there’s no limit to what they can do these days, and they’re not holding back. In terms of direction, it’s flawless. In terms of music, Mark Snow is back at the controls. In terms of main titles, it’s like the show never left. It basically picks up right where it left off, with Mulder forgetting about his depression and diving right into the extraterrestrial rabbit hole.

Old Properties
Really, any reservations you may have had concerning this ‘event’, they’re efficiently dismantled in the first episode. The X-Files has splendidly returned to form, and I couldn’t be happier about it. For Carter, the actors, FOX (the network) and a dozen other reboots, continuations and events currently being in the works. After Heroes Reborn, and the constant production calamities of Twin Peaks, studios might think twice about bringing an old property back to life. And I really would like to see the new A-Team, the inventive jailbirds of Prison Break and the Jack-less 24: Legacy. Luckily, Carter and company have shown there’s nothing to be afraid of. Kickstarting old franchises can be executed brilliantly.

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On Board
So, okay. That’s enough praise, I think – right? The story, then. As we’ve known from 9 seasons and 2 movies, men inside the government used to fumble around with alien technology. Tad O’Malley (Joel McHale), a populistic conspiracy thinker AKA personality television show host, has put (more than) a few pieces together. He invites Mulder and Scully for a glass of champagne, trying to get them on board and guess who bites and who doesn’t. On board of what, that remains a bit of a mystery, since there’s only the conspiracy theory at this point and no real plan to expose whoever’s behind it.

Exposition Extraordinaire
The key to everything is a girl called Sveta (Annet Mahendru, The Following, The Americans). She’s been abducted and impregnated multiple times, supposedly by aliens. Mulder figures out they never were aliens, but men. Powerful people who want to destroy the world and blame it on extraterrestrials. David Duchovny has got an extreme amount of exposition to do throughout the episode; he gives Jules Winnfield a run for his money. ‘My Struggle’ is rich in every way, there’s a lot to take in, but doesn’t feel bloated (like, for example, the first two episodes of season 7 did). Now that Mulder has gotten a glimpse of a global threat, which is already in progress, he can’t let go. Skinner – still only assistant director, by the way – sees the importance of it, too. He reopens that damp dark room in the basement. Ladies and gentlemen, The X-Files have been reopened. O, and Mulder and Scully have a child together.

Wait, what?!

The Twists and Turns of Colony

A new show starring Josh Holloway is always something to look forward to, just because of his portrayal of Sawyer in LOST, the tough teddybear on that mysterious island in the South Pacific. One of the writers on that show, Carlton Cuse, has carved out a new hard-edged-but-actually-a-sweetheart role for him, that of Will Bowman. And this time, it’s not an ocean that keeps him prisoner, but a massive wall, in Colony.

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The Pilot
We’ve talked about Colony before, after its first look special ‘Behind the Wall’, which, as it turned out, was basically the pilot episode with a few testimonials cut in between. Los Angeles has gotten a wall Donald Trump can only dream about, built by the ‘Others’. It’s a result of a war between men and… aliens? In any case, Will used to be a soldier in that war, but is laying low, trying to live an ordinary life, providing for his family. That’s his wife Katie (Sarah Wayne Callies, Prison Break, The Walking Dead) and their two children. There’s one child missing, though, their son. Taken beyond the wall, and without telling Katie anything, Will sets out on a dangerous quest to find him. During an attack at the wall/border by the resistance, Will’s discovered by the officials and taken into custody. Proxy Governor Alan Snyder (Peter Jacobson, House MD, Ray Donovan) makes him an offer he can’t refuse. Collect intel on the resistance and then, maybe, if Snyder feels like it, get his son back. All Will has been trying to do is keep his head down, so he’s not in contact with any resistance members, but he’s got no choice but to play ball. Katie, however, is part of a resistance cell. That last twist feels a bit too much. How and why would she keep such a secret from her veteran husband? It may have been better if they’d saved that surprise for later – like LOST used to do with practically everything, postponing revelations indefinitely – but I guess USA doesn’t have the luxury of gradually building an audience; they need viewers quick, and that means plot twists, please, as many as you can spare.

Brave New World
The second episode ‘Brave New World’ introduces, apart from a few continuity errors, a bunch of new characters. Snyder stays in the background – doesn’t even show up, in fact – and his replacement, story wise, as the one who gives Will his orders, is Phyllis (Kathy Baker, Medium, Boston Public). She pairs him up with Beau (Carl Weathers). Also walking around in the Colony universe: Jennifer, played by the extremely funny Kathleen Rose Perkins (Episodes, Trust Me) and George (Strike Team alumnus Brian White, The Shield, Men of a Certain Age, Chicago Fire). Will’s collaborating with the oppressive government at Homeland Security, tracking down the guy who played a vital role in the border bombing, Andrew (Craig Henningsen). When he brings him in, Will finds his friend Carlos (Jacob Vargas, Sons of Anarchy, Hand of God) in custody, too, ready to be shipped off to a place called ‘The Factory’.

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The Factory
Will tries to make Carlos his CI, but Homeland’s full of people who just try to survive. Phyllis gets her orders ‘from above’; her hands are tied. At least Will and Katie make sure Carlos’ wife and son are safe. Meanwhile, the so-called Red Hats who do the interrogations, break Andrew. He gives up the location where his people are hiding. Will’s called to come in, Katie overhears him on the phone and informs Quayle (Paul Guilfoyle), head of her cell. When Homeland arrives on the scene, Andrew’s people are bleeding out on the floor. Somebody knew they were coming. Will realizes there must be a mole. And I suspect, given the pace of the show, Katie will confess her role in all of this to him in episode 3. Together with a group of other prisoners, Carlos is sent to ‘The Factory’, which looks like a huge gas chamber, but it’s not quite clear what happens to them. There’re blue lights, then red lights, a lot of smoke, people in hazmat suits… The writers wouldn’t have shown all this if the prisoners were all just going to get killed. They haven’t made it spooky for nothing; there’s something going on, perhaps even something alien.

Well Done
For now, the whole occupation thing feels a bit silly. What motivation could the aliens (if they are, indeed, aliens) have for dividing the United States into specific ‘zones’? Are they transforming Los Angeles into an amusement park? (That’s not such a stretch, actually, if you know what I mean.) But all silliness considered, the show’s fast, looks great, there’s enough mystery to be captivating, so I definitely give it the benefit of the doubt. Shallow entertainment, but shallow entertainment well done.

Colony, Episode Zero Offers Zero

USA’s new science fiction show Colony keeps its cards close to the vest. One way to describe it is Sawyer, a wall and a riddle inside an enigma. Occupy L.A., another. The half hour long making of ‘Behind the Wall’ is an exciting appetiser, it does, however, poses a lot of questions. I suppose that’s exactly the point, in order to attract the former LOST fanbase, in need of mythology.

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Sociology
From what we do know, Colony is another (militarised) occupation show, where the primary location or region is fenced in. A mashup of Under the Dome, Falling Skies, Wayward Pines, The Man in the High Castle, Into the Badlands, the movies Divergent, The Maze Runner, The Giver and Elysium. A potpourri of popular culture, albeit looking original – which is an achievement already. It probably means something, the sudden rise in dystopian stories. Is it a reaction to an increasingly dangerous world? A reflection of the threats the western world is facing? The wars abroad coming to our door, the limits of privacy? Or is it the exact opposite? It’s known that people in times of war, worry and insecurity generally prefer simple, positive TV shows; Colony doesn’t look like it wants to be simple. Or positive. Is there a sociologist in the audience?

Behind the Wall(s)
Not many other series get a zero episode AKA first look AKA warmup such as ‘Behind the Wall’. USA has got a lot riding on this. However, the way they choose to market the show, and specifically the cast and crew involved, is a bit awkward. The two leading actors don’t need an introduction. Josh Holloway is of eternal LOST fame, Sarah Wayne Callies will be forever tied to Prison Break – although USA apparently prefers her role in The Walking Dead. Speaking of Prison Break, that series once aired a similar special, called ‘Behind the Walls’. Or is that too much of a geek fact?

Awkward Marketing: The Crew
Anyway, the other key players in this production include: Carlton Cuse (LOST, Bates Motel, The Strain, I would’ve left out the fact he wrote the movie San Andreas). Ryan Condal (I would’ve just said he was a writer, without getting specific, like informing the audience he wrote Dwayne Johnson’s Hercules movie). The marketing department has an odd target audience, because they don’t just focus on empty blockbusters starring The Rock, but on other big movie letdowns as well, such as 2014’s Godzilla and Pacific Rim (like Colony, both were produced by Legendary Studios). Sure, the premise of the new series sounds like science fiction, but that doesn’t mean lovers of shallow action movies with either big creatures or giant robot suits are the only ones who might be interested.

Awkward Marketing: The Cast
When it comes to the cast, they’ve got Kathy Baker, of Picket Fences. Really, USA? A twenty year old show that wasn’t even that big a hit? You might want to be a little more 21st century. She starred in Boston Public, Medium and Against the Wall, for example. You could even mention Saving Mr. Banks, Saving Grace or The Glass House.
They’ve got Peter Jacobson, of House. That’s been a while, too. Besides, every actor on that show paled next to Hugh Laurie. Why not say Jacobson was in Ray Donovan?
They’ve also got Amanda Righetti (The Mentalist), Tory Kittles (True Detective, but let’s not forget Sons of Anarchy), Paul Guilfoyle (CSI) and Carl Weathers, ‘of Rocky fame’. Of course, his portrayal of Apollo Creed has been iconic, and there’s a new movie out (Creed), but he’s done more than box. He’s been in Arrested Development, The Shield, Brothers and Tour of Duty. ‘Of Rocky fame’ makes him sound twice as old.
But at least they’re being mentioned, which isn’t the case with Ally Walker (Sons of Anarchy, Longmire, Boston Legal, Profiler), who’s nowhere to be found in ‘Behind the Wall’. Maybe she plays an alien and they don’t want to spoil it, who knows.

The Director
Despite a questionably put together ‘first look’, Colony looks very promising. The pilot is directed by Juan José Campanella (House MD, Halt and Catch Fire), who’s gone all out with handheld cameras. It gives the show – for as far as we can tell – a nice, gritty, documentary feel.
On January 14, 2016, the characters are going to ask themselves this cheesy line: Collaborate or Resist? After watching episode zero, I’ll definitely join, and take it from there.

Telenovela: Pilot

After gotten her comedy chops sharpened on Brooklyn Nine-Nine, Eva Longoria (Desperate Housewives) got her own… Well, I guess you could call it a comedy. Telenovela is all about Ana Sofia, or ‘Pasión’, the star of a telenovela – the Spanish version of a soap opera. It’s a fresh, fast but also pretty traditional sitcom about everything that goes on behind the scenes of a fake television show. Like 30 Rock, but less pretentious. Like UnReal, but actually nothing like UnReal.

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Slapstick
Ana Sofia is the star, but she’s also very bossy and short-tempered. To make her more likeable, they’ve made her extremely clumsy. Tripping over her own feet, for starters, which would’ve qualified as slapstick but that might just be the hardest form of comedy to pull off. I know, Charlie Chaplin, Laurel and Hardy, they’ve made it look so easy, but it’s actually quite hard. And there’s more stuff like this that makes Telenovela as funny as a real telenovela. So if you like the genre, you’ll like this show as well.

Expiration Date
That doesn’t mean Longoria does a poor job. She did pretty well as Jake Peralta’s girlfriend (although to be fair, she didn’t have a lot of funny lines) and she’s doing alright in this, too. She has the right swing, the right pace, she indeed is quite likeable, but the story’s a little too thin and many jokes are way past their expiration date.

Get The Boat
What happens is, even though Ana Sofia seems to be in charge of everything, including the scripts, the network has dropped a new co-star in her lap. It’s not just anyone (or Enrique Iglesias), but Ana Sofia’s ex-husband, Xavier (Jencarlos Canela). Angry and frustrated, she decides to steal his boat.
Okay, rewind. His boat? Apparently, the divorce was good to him and he got their boat, or something, so yeah, of course Ana Sofia and her best friend Mimi (Diana Maria Riva, The West Wing, Studio 60 on the Sunset Strip, The Good Guys, The Bridge) dress up as burglars – fashionably sound burglars – and head out to the pier.

The Kiss
It’s a comedy, so their little nighttime adventure ends in Xavier confessing to Ana Sofia he did indeed cheat on her three years ago and they kiss in front of the boat, in front of the paparazzi (where did they come from, all of a sudden? Never mind). The kiss was just a diversion, but it made Ana Sofia think twice about their breakup. Like in a real telenovela, you know whenever something starts to look like good luck, good news or good fortune, there’s going to be a catch. The next day on set, Xavier’s kissing some other woman. Off camera, mind you. Ana Sofia’s dreams come crashing down again.

The Casting Is Not The Problem
As far as old-fashioned comedy series go, it’s not so bad. Longoria and Canela have nice chemistry, the former’s always a delight to watch anyway, whatever she does, Riva as Mimi is great and it’s nice to see Amaury Nolasco back on screen. He’s mainly been focused on bad guys (Prison Break, Gang Related, Justified), but he’s got great comedic timing. It’s a small role, but Telenovela needs all the help it can get. In an even smaller role, as network president, is Zachary Levi (Chuck, Heroes Reborn). So the casting is not the problem here. Telenovela is just a show you forget about once the commercials start. It’s great if you want to switch off your brain for half an hour, but then the question is: why wouldn’t you watch a real telenovela instead?

Blindspot: A Stray Howl

Sometimes it’s done right, sometimes they’re bloated with information. Shaping the pilot of a new TV show is an art form all by itself. Blindspot got most of it right, which brought high expectations for ‘A Stray Howl’, episode 2.

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Hors d’oeuvre
One of the nicer things about second episodes is the first appearance of the main title sequence. Not all shows have one nowadays, and the ones that do, often just keep it short and simple. Blindspot, probably because the plot revolves around tattoos, takes a chapter from the Prison Break catalogue. A short chapter, though. I don’t know when exactly Hollywood started to discard the perfect visual calling card for their TV series, of at least thirty seconds, but fact is it appears to be the very last thing on their minds when putting new drama on the air. Main title sequences can truly be amazing works of art, accompanied by cool theme music. We need more of those. Blindspot has got a nice one, although it’s more of a main title hors d’oeuvre.

First & Second
The sequence leads me to another thing. The names of the actors don’t appear before the show picks up again (the main title sequence is sandwiched between two scenes, like most are) and Sullivan Stapleton comes on first. Then Jaimie Alexander. She’s clearly the star and leading lady of the show, so why is she second in line? It’s a minor detail, maybe, but it made me wonder about the focus of the series. Are we watching her journey, or just another crazy case he is trying to solve?

The Weekly Baddie
‘A Stray Howl’ continues the story predictably. The FBI (well, their very own Chloe O’Brian, called Patterson, played by Ashley Johnson, Spooked) figures out another tattoo and the whole team is on route again. There are drones, cars and houses blowing up, the bearded mystery man peeking from behind a corner. At the end of the day, the weekly baddie is in cuffs. Second tattoo down, an endless supply (depending on how long the show will be on the air, I guess) to go. And Blindspot isn’t going anywhere soon. After last week’s well-watched, well-received premiere, NBC has ordered additional episodes.

Ashley
Before you start to think: wait a minute, it’s just another crossing-crimes-off-their-list-every-week procedural, there is some progress concerning Jane’s identity. Even though she’s covered in tattoos, if you look closely you can see she’s got a scar below the back of her neck. It reminds Kurt of an old case, about a young girl called Ashley. He used to go tree climbing with her, accidentally stepped on her hand, she fell and got wounded on that exact spot. Then, she disappeared forever and Kurt’s father was the prime suspect. This was 25 years ago and she’s never been seen again. Until now, Kurt believes. Jane is Ashley. Everything fits. The time, the scar, her eyes, the reason his name is tattooed on her back; well, if you put it that way, Kurt, then yes, of course, she must be it. His superior, Mayfair (Marianne Jean-Baptiste), thinks it’s all just one big coincidence, but has requested Ashley’s DNA, so they can match it with Jane’s. My guess is that DNA isn’t going to be where they left it. I’m sure whoever’s responsible for making Ashley a Jane Doe has erased all the evidence that links to her past.

Anticlimactically
So, despite the weekly dose of chasing another bad guy, thankfully the writers know they have to feed us with snippets of information about Jane (I’ll just keep calling her Jane for now), because that’s the only reason we’re watching, aren’t we?
In terms of expectations after a compelling pilot, I’d say Blindspot meets them, going forward. I am still a bit hesitant about the big reveal, though. Why Jane, why the tattoos, why the clues, why Kurt and why go through so much trouble? It seems impossible to not end anticlimactically.

Blindspot: Pilot

The fall pilot season has finally come, with more new shows than you can count. We already took a look at FOX’s Minority Report (and hated it), today it’s NBC’s Blindspot. They’ve built this series using all the cool ideas from all the shows that came before.

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Recap Blender
It’s not an adaptation, sequel, or reimagining of anything, but it comes close. Blindspot has been constructed with the leftover parts of 24, Prison Break, Die Hard with a Vengeance, Kyle XY, Alias, FlashForward, Numb3rs, American Odyssey, John Doe, The Blacklist and so on and so on. It’s like watching an hour long recap of the last fifteen years of television drama, but it is a coherent recap. It’s not fragmental; it’s got a clear concept. It doesn’t feel like the writers have been consciously picking their favorite action series ideas, just for the sake of putting them in their new show. It’s more like they came up with a simple concept into which they could organically incorporate familiar action series elements.

The Concept
So what’s that concept all about? Think Michael Scofield who suffers from total memory loss, teaming up with Jack Bauer, deciphering Riddler-esque clues, running all over town (New York City) like John McClane, to stop a bomb/madman, while unknowingly being followed by a mysterious looking guy, who seems to know everything.
Actually, that could’ve been the precise pitch creator Martin Gero (Stargate: Atlantis, Bored to Death, The L.A. Complex) gave to NBC.

The Beatles
Jane Doe, the female Scofield, is played by Jaimie Alexander (Kyle XY, Thor, The Brink). Tattooed all over, she’s dropped in the middle of Times Square, inside a sports bag. Her amnesia’s pretty extensive. She can barely remember what ‘music’ is. Imagine waking up with no memory and having to go through the complete Beatles anthology.
That’d be awesome.
But no, in Blindspot there isn’t any room for the positive aspects to having no past; everyone’s deadly serious about triggering Jane’s memory – and even more about what her tattoos mean.

Kurt Weller, FBI
The biggest one is on her back, saying ‘KURT WELLER FBI’. When she meets Weller (Sullivan Stapleton, Strike Back), they don’t recognize each other. They’ve never met before. It’s clear somebody wanted her at the FBI, and the first clue to why is behind her left ear. A date and address in Chinese. Luckily, the date’s today and the location’s right there in New York City, so Jane, Kurt and two other agents, Tasha (Audrey Esparza, Public Morals, Black Box) and Ramirez (Rob Brown, Treme), are on their way.
In charge at the Bureau, is Bethany Mayfair, who’s played by Marianne Jean-Baptiste (Broadchurch, Private Practice, Without a Trace). It’s not the easiest thing to pull off, being the head of a special unit. We’ve seen many actors fail at figures of authority (for example Mykelti Williamson in the 8th season of 24), but Marianne Jean-Baptiste has got a fierce, tough, CCH Pounder-like quality to her.
Also, Sullivan Stapleton is great in the male lead as Weller. He’s got the right amount of tough- and seriousness; we sure were in need of one of those again. Him being serious, without any wisecracking, actually feels like a breath of fresh air . There’s no weak link on the show – so far. Jaimie Alexander’s doing a perfect job, portraying the woman who, at the end of the Pilot, does get a few glimpses of her pre-sports bag era.

The Wildest Possible Theories
The address leads the team to somebody who wants to blow up the Statue of Liberty. Jane discovers she’s got bad ass fighting skills, she also shoots the bad guy, bad guy gets killed in the hospital by Mystery Man #1 (Johnny Whitworth, The 100) and it’s on to the next tattoo-clue on her body, come episode 2.
There is a lot of mystery surrounding the plot of the show, and that could potentially be its downfall. Viewers are going to be guessing – the wildest possible theories – and when the truth is finally revealed, it might not be as exciting as all the options people came up with while watching. We’ve seen it with LOST, a couple of seasons of 24, the fourth season of Prison Break, so Blindspot had better be very careful, peeling off its layers. But right now, judging by the Pilot, this show’s definitely going to find an audience. It will, however, get steep competition next week from another new show with a female action heroine lead, namely Quantico. Despite the fact the two series will air on different nights (Quantico, starring Priyanka Chopra, will air on Sundays), the audience might choose one over the other anyway.

Public Morals: Family is Family

‘Nobody gives me any shit’, is the first thing Rusty (Neal McDonough, Arrow, Mob City, Band of Brothers, Boomtown) says and he’s not kidding. Apart from picking out guns, he’s not afraid to use them, too, coldblooded.

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Reversed Typecasting
Some actors get typecast as the villain, bad guy, terrorist, mobster and any kind of other scum of the earth, and have made a career out of it. Their looks just make them the perfect antagonists. The odd thing is, Neal McDonough’s looks don’t exactly say ‘I am a bad man’; he comes across as a sympathetic guy, actually. Still, more often than not he’s cast as amoral businessmen, gunslingers and psychopaths. On Public Morals, Rusty tries to be smart, tactical, restrained, but fails in every department.

A Kaleidoscopic Inside Look
We’re dealing with the aftermath of the murder of crime boss Mr. O (Timothy Hutton). Terry (Edward Burns) tries to put the pieces together. His uncle had a lot of enemies, so the list of suspects is a long one. The investigation is at the heart of the episode, but then again, it’s not.
Public Morals has a way of luring you into its house and showing you every room, in a nice, welcoming manner. It’s what many other shows easily get wrong, but Burns’ personal intertwined cop and mob family project hits all the right notes. A kaleidoscopic inside look into every corner of Terry’s family, the Public Morals Division and many, many more characters – all played by terrific, seasoned actors – is a recipe for boredom (it’s extremely hard to pull off a show with such a big ensemble cast, and make every storyline evenly interesting), but the series offers so much in pace, tone, dialogue, camera work, direction and art direction, that it’s a feast for one’s eyes.

A Romantic Take
This show makes the Beetle car look like the coolest thing you could ever drive. Also, when did we stop wearing hats like that? The way the houses, bars and police precincts are furnished and lit. The way men and women dress, in general. The other cars, the music. The way children are brought up, fair and just. The series must be a highly romantic version of the 1960s, but I love it.

The Would-Be Witness
Rusty’s killed Mr. O and tells Joe Patton (Brian Dennehy, Dynasty, Rambo: First Blood, Romeo + Juliet), the guy presumably at the very top of the mob food chain, he’s going to take care of it. The Robin to his Batman is Tommy Red (Fredric Lehne, American Horror Story, the pilot on Con Air and the marshall escorting Kate on LOST). His first idea is to cook up a witness. A witness who saw nothing. They rehearse the story he’s going to have to sell to the police, but can’t tell it straight – and gets strangled by Rusty.

Suzie
Then, he pays a visit to the only real witness. The hooker who ‘saw the whole thing’, Suzie (Erin Darke), who’s just about to leave town, but then Rusty appears outside of her house. I would’ve sworn Suzie was played by Jennifer Lawrence. The heavy makeup and Darke’s physique make her almost identical to Lawrence’s part in American Hustle.
When Rusty offers her a ride to the train station (but we all know that’s the one place he’s not going to take her), she blurts out she’s not going to tell a soul about what happened. Without a second thought, he shoots her, then and there, on the sidewalk, and leaves her lying there.
(I’m not sure about his reasoning, but I guess she needs to be found by the cops next week, to drive the story forward.)

Binoculars
The show really stands out in the way it’s shot. There are long shots, the camera moves very organically through a scene, the colors – even though there are lots of different brown tones – are spectacular, maybe there’s a bit too much darkness around the edges of the frame, as if we’re watching through binoculars, but other than that, the image alone makes for a greatly entertaining hour of television.

Guest Stars
Another thing that shouldn’t go unmentioned, is the short scene between Terry and his father Mike (Peter Gerety, The Wire, The Job, Brotherhood, Brothers & Sisters, Sneaky Pete and the 1996 comedy called… Public Morals). It’s a very mature, lovingly, realistic conversation between a grown man and his dad, both being their own man, able to talk about whatever issues they used to have in the past.
Okay, maybe not so realistic, but a father and his son, treating each other as equals, you don’t see that very often in drama series.
Speaking of guest stars, Mr. O’s widow’s played by Michele Hicks (whom we all know as Shane Vendrell’s irrational wife Mara). Harry Hardware, a character who seems to have his fingers in a lot of Hell’s Kitchen pies, is played by Al Sapienza (Person of Interest, Brotherhood, Mikey Palmice on The Sopranos and Philly Falzone on Prison Break).