Spike’s The Mist
Season 1, Episode 5: “The Waiting Room”
Directed by Richard Laxton
Written by Amanda Segel & Christian Torpe
* For a recap & review of the previous episode, “Pequod” – click here
* For a recap & review of the next episode, “The Devil You Know” – click here
With Bryan (Okezi Morro) wounded from the gunshot, Kevin (Morgan Spector), Adrian (Russell Posner), and Mia (Danica Curcic) rush trying to get him to a hospital, driving through the mist. They get him there, but like everywhere else people are stuck together, stuck inside, there’s no telling what the situation is like amongst the staff, patients, and anyone who’s ended up in that building as a result of the encroaching mist. As well as the fact Mia blames Kevin for Bryan getting shot, treating it the same as if he shot the bullet himself.
Luckily, the guy’s going to recover. Just a good deal of blood loss. Meanwhile the hospital’s on an emergency generator, only a few days left. Food and medicine are depleted. Mist has taken over a whole wing of the hospital.
We get a flashback to Kevin and Eve Copeland (Alyssa Sutherland) as they move into their home for the first time. A happy, excited couple. Far cry from where they are now, and that’s not just including the town’s latest situation. Their marriage is rocky after Alex (Gus Birney) was raped. Mom blames dad in a way, for being too lenient. Because of her own past I’m sure Eve has troubles with trust, particularly concerning the trust in men.
Kevin doesn’t stop looking for his family, though nobody’s seen them anywhere around the hospital. One of the worst places to be trapped is the hospital. There’s death around almost every corner. Moreover, Kevin finds his brother Mike (Peter Murnik) in a bed, a brutal wound in his gut. His brother said “they knew me” – whatever’s in the mist – that they knew things about his past. “I don‘t even know what‘s real anymore,” Mike says. The two brothers clearly have NEVER seen eye to eye, yet there’s a comfort in the older of the two with his younger brother there. Perhaps that’s because he’s on the edge of death. Or maybe he just hides his affections.
Either way they’re stuck, for a while, in that hospital together. At the same time Bryan’s recovering, his connection with Mia deepening. She’s got demons, very dark ones. She tells him: “I‘m not ready for you to be nice to me.”
More flashback. Eve and Kevin talk about the nature of women. She says that “all women are two people.” You can see he desperately wants to understand and know his wife completely, and there’s a resistance in her, even if she obviously loves him. Their connection is clear and strong, but she’s mysterious in ways.
Then later, Mike asks his brother the unthinkable: put him out of his misery, to send him on from the pain. Only Kevin can’t bring himself to do that, even if it’s meant as mercy. They go from anger to nostalgia to laughter in a matter of moments. It’s touching, and also eerie in a way. Because no matter what happens Mike’s going to die, one way or another.
Another flashback shows a brief moment with Mike and Eve, as they’re all together in the new house. The older brother’s comment puts a momentarily sour look on her face. Afterwards, she and Mike have sex, she asks him for it harder. I worry there are dark secrets, darker things about the town, what happened to Eve all those years that we don’t yet know. I’m not sure exactly if I have any theories yet, I do know there’s something else there yet to be revealed.
Now, Mike needs to be taken to the OR. But it goes through the mist. They’ve got to get through it with a hospital bed. However, the doctors won’t go, so it’s up to Kevin: go and his brother may die, or stay and his brother will die anyways.
Adrian’s run into a guy from school in the bathroom, Tyler (Christopher Gray). He approaches him and then goes in for a kiss. Tyler responds with “faggot” and beats him brutally, kicking him, punching him. Instead of just, ‘yknow, saying: I’m not gay. And Adrian gets right back up, goes in for another kiss, finally accepted with little reluctance as they make out.
More flashback shows us that the thing with Mike and Eve is that the older brother talks about her as the “town whore” and speaks ill about her to the parents of children at the school, all sorts of other nasty shit. While Kevin wanted to rush out and “beat the fuck” out of his brother, his wife makes clear: “I just don‘t need you to save me.” Now we can see all the conflicted feelings further between Kevin and Mike.
Lost souls Adrian and Mia bond over being single children in their respective families, over trouble with her mother, his father. The junkie, and more experienced sleazeball, snags the keys from the kid without his knowing. After that she makes a swift exit, driving away from the hospital in a hurry. And this not long after her discover of a Bryan Hunt in another hospital bed, who says he was attacked by a man at the military base. Ohhhhh, shit.
Kevin rushes through the misty wing of the hospital transporting his brother to the OR. They barely make it there before Mike’s fingernails start bleeding, his nose and his mouth, too. Now it’s left to the younger brother, to take orders over a headset and do surgery on the older one. Before they start Mike mentions he and his friends were “all in love” with Eve; part of his hatred for Kevin stems from jealousy, that his younger brother was the one who wound up with such a wonderful, beautiful woman instead of him. Petty masculine bullshit.
Kevin manages to get the rebar out of his brother’s stomach, then he has to stop the bleeding, close the wound with stitches. He finishes up before having to head back through the mist to the other wing.
One more flashback reveals Kevin is not actually Alex’s father. They also make a promise not to tell her, so as not to break the little girl’s heart. So, is the birth of their girl a result of what happened to Eve? Wow, that adds a whole other layer to their family and relationship if so. Jesus. Heavy stuff.
When Kevin takes Mike back through the hall, he slips on some blood and his brother topples to the floor, more blood coming from all over his body. The mist drops leaches onto him, they cover his skin and start sucking the life from him. When it’s too much, Kevin has to put his brother out of his misery finally, and get out of the mist.
What a fucking episode! I’ve seen people rating this low, and I have no idea why. Crazy. Such history, character development, as we figure out more of the Copelands’ inner lives, what drives them, what’s brought them to here. There’s so much to unpack. The writers are doing a great jog so far. “The Devil You Know” is next week.
In the aftermath of Javi (Alex Meraz) attacking J (Finn Cole) and Nicky (Molly Gordon), what will Smurf (Ellen Barkin) do? Will Pope (Shawn Hatosy) and mom join together at least momentarily to take care of this family problem?
Finally, Smurf has to explain to the boys about Javi, his father, all the tragic story from back in the day. Manny supposedly put Javi’s dad out of his misery, then he was buried at a construction site. That’s now on the street where they let Nicky go earlier. So, do the boys ride or die for big mama? Probably not. They aren’t too eager to help mom, particularly not Deran who feels “foster care” would’ve been better than being in the Cody family. That pretty much puts an end to their conversation. Although Smurf cautions: “This doesn‘t end until we end it.”
Pope worries that the cops may arrest Baz on suspicion, something he possibly can’t live with, though it’s difficult to know what he can or can’t live with in the end. Then there’s J, constantly worried that he didn’t do right by Nicky, even if she doesn’t actively blame him. Everyone is preparing to go dig up Javi’s dad, as well as figuring out their own shit simultaneously.
Baz goes with Smurf to take care of the drop off and the cash. But I wonder, maybe they’re walking into something bad? Maybe. Out in the middle of nowhere, they meet Javi, who’s brought along a friend. Just seeing Smurf makes the dude’s blood boil.
Only problem is there are many bad things lurking underneath, specifically that dark secret between Pope and Smurf, the one that if it’s discovered by Baz the Cody family will be obliterated. I wonder how long more until things start unravelling. My guess is in “Grace” next week, we’ll see a bit of his come out.
So Jesse (Dominic Cooper) just found out Viktor (Paul Ben-Victor) is Tulip O’Hare’s (Ruth Negga) husband. He’s got the guy in the torture room, too. He even uses Genesis to get who he thought was his lady out of the room. As she reminds him of “Dallas” and asking if he wants to “go there again.” Hinting at a dark, dark place in the preacher’s former life.
I mean, normal life doesn’t suit either of them. Not Tulip, and certainly not Jesse who looks wholly miserable without a bit of criminality in his existence. But there’s also the fact they were both on different wavelengths. She likely didn’t want to jump right back into conceiving a child after just losing one, whereas he seemed to feel the only way to get past it, to get over the loss was to replace the child now gone.
It all broke down when Jesse stumbles across something stuffed in a vent at home: a bag filled with cash. She’s been working their old contracts again, after lasting only three weeks at her real estate job. She isn’t made for the straight life. He isn’t, either. But he didn’t realise that. However, we also see Tulip’s been lying, taking birth control without telling him. That’s a bit sad, though again: her life’s been shit. Still, I can’t help feeling they’ve both done each other wrong. Plus there’s the fact Jesse beats his friend in anger, terribly, showing off that dark temper we can already see is inside him lurking.
So what does he do?
Loved this one, filled in bits of backstory for Tulip and Jesse that I was hoping to see sooner than later. The writing in this series is great, because the characters come through so subtly, even without some of the flashbacks. Yet those moments give life to the actions, reactions, emotions of Jesse and Tulip in present day after seeing what they’ve been through. “Sokosha” is next week, looking forward to a bit of action as the Saint of Killers is hot on the gang’s trail.
Richard Horne (Eamon Farren) goes to see Miriam, who saw him during the hit and run. She wrote to Sheriff Frank Truman (Robert Forster) to tell him about what she saw. This doesn’t stop Richard from breaking into her trailer, doing something terrible. I’ve got a feeling the FBI might be back in Twin Peaks sooner than later, not just for the ordeal involving Special Agent Dale Cooper (Kyle MacLachlan). ‘Cause Ricahrd, he’s one bad, bad dude.
Rodney and his brother Brad Mitchum (Jim Belushi) see a news report on Ike the Spike, glad to see him snatched up by the cops. Then, a report on Dougie Jones surviving Ike’s would-be assassination. The news footage is fucking hilarious, with Dougie-Coop trying to reach out and touch the cop’s badge, Janey-E swatting away his hand. But the Mitchum brothers, they’ve found their “Mr. Jackpots” and it’s not as if it was overly hard.
In Las Vegas, Duncan Todd (Patrick Fischler) – rival and a “bitter” enemy of the Mitchums – has Anthony Sinclair (Tom Sizemore) under his thumb. He tasks him with making sure the Mitchum brothers kill Dougie Jones, or else do it himself.
Ben Horne (Richard Beymer) gets a call from his wife Sylvia (Jan D’Arcy), she tells him about the attack by Richard, asking for more money. Seems grandma likes to stay far away from the rest of the family, or at least Ben and all his bullshit.
A fantastic episode, one that’s more linear and adds bits to the plot, strengthening things while also letting our minds relax; soon enough there’ll be more surrealism, count on that. Excited for the next part, this has been a journey of mythic proportions. I have no doubt in my mind Frost and Lynch are going to take us through another gamut of wild, weird, exciting, confusing, gorgeous moments in the back 8 episodes of The Return.
Smurf (Ellen Barkin) talks with her old pale Jake (Jack Conley). He’s been paid a visit by Javier (Alex Meraz) and the boys, about back in the day with Manny. The tapes. They tortured information out of Jake, threatening to do the worst. He wants Smurf to just pay up.
Oh, and uncle Craig (Ben Robson), he’s in the slammer. Out on bail, though. That’s one good thing for him. He gets picked up by Nicky, who used her dad’s credit card to free her boyfriend. What’s clear is, juxtaposed with her, he’s so much less mature while being a good deal older. We can’t see how much of a boy he is, amongst the gang.
My favourite brother? Deran (Jake Weary). He’s trying his best to fit in with the business community, going to meetings and playing the part of proper business owner. He comes up against a bit of shit when finding out there’s a suggested fee to help with services in the community. Sensing he’s being shafted, Deran opts not to pay. My guess is the head of the whole business owners group will turn up dirt, forcing our man into a tough spot.
Craig’s trying to get a legitimate job. He needs to give a piss sample at a nice place, so he pulls a gun on a guy in the bathroom to get a bit of clean stuff. What a way to try going straight. What a piece of shit. Not hard to tell that lowlife Jake is his real dad. Not that any of the boys are upstanding citizens. And not as if he’s actually doing it for the work. It’s to help on an upcoming job, of course.
What an intense episode, one of my favourite of the entire series to date! Action, emotion, revelation, brutality. Wow. Seriously, just a great episode all around. Can’t wait for “Dig” next. Will surely get wild.
Tulip O’Hare (Ruth Negga) is in one hell of a pickle. Men are sent by Viktor (Paul Ben-Victor) to collect her. Doesn’t look like much of a way out for her. They cart her off to an uncertain fate.
Speaking of trouble, poor Arseface aka Eugene Root (Ian Colletti) is trying his best to fit in at the prison in hell. Things are pretty tense down there. Adolf Hitler (Noah Taylor) picks up for the young man when another inmate is bullying people around. Such a strange, surreal place. Eugene gets locked out of his cell, so Adolf invites him over to his own hell. Funny enough, Hitler’s hell isn’t particularly bad because it’s Munich in 1919 and he’s totally unlike himself, no problem with Jewish people and nothing insane going on in his head. My guess is this is hell for a truly evil person: their normalcy, their world without power, fame, genocide, and so on.
One thing I enjoy is that Cassidy infantilises Tulip, whereas Jesse says “if there‘s one thing Tulip O‘Hare can do it‘s look after herself.” I mean, yes, there’s reason to be concerned for her. But I love that Jesse trusts in her, that whatever she’s into it’s something can handle. This is exactly why they’re together. She doesn’t need or want any man babying her. Despite the fact she might need a helping hand at the moment.
Cassidy reveals that Tulip’s off taking care of personal business. This sends the preacher on a fucking rampage. Well, first he uses Genesis to keep the men in their places at Viktor’s home. He runs into the sick torturer in one room, they guy we saw earlier using a man sort of like a pinata. The guy with all sorts of weapons on his walls. He and Jesse fight to “Uptown Girl” by Billy Joel. Genesis doesn’t seem to work on him, either. An AWESOME FIGHT SEQUENCE! Possibly the best on the series out of the two seasons so far, honestly. Wild, weird, brutal. Just like the comics ordered.
Cracking episode! It wasn’t exactly a twist, just dig how the whole episode and plot with Tulip+Viktor has played out. Looking forward to “Dallas” next, to see more about this latest tension. Gonna be interesting to watch how Jesse handles things from here.
We flashback to Ofelia (Mercedes Mason) on the road by herself, after fleeing Mexico and leaving the others behind. Right before she meets Jeremiah Otto (Dayton Callie), firing bullets at her from a distance. Before greeting her: “Welcome to America.”
Madison brings Ofelia at gunpoint to the Black Hat, confronting Walker. She wants answers, and resolution. She wants to know what was put into the coffee, what’s poisoned her son. “Anthrax,” he tells her. Incurable. At the same time, Walker respects Madison, not wanting her harmed. Says she’s “more of a man” than either of the Ottos. And she makes it very clear they’re not going anywhere. They’ll fight and die with the ranch.
The tribe finds parts of their land blazing in flames, Troy and the remainder of the militia, as well as Madison and Alicia on the horizon. Everything’s going sideways, fast. Back at the ranch, Nick is digging under his little house. He’s found something he wants to share with Jeremiah: a skull. To whom does it belong? The old fella tells a story about the Natives wanting their land back, killing cattle. He and the other Founding Fathers killed several of the men. The skull belongs to Walker’s father.
Doesn’t look like a deal will go smoothly with Walker, even after Madison offers up the skull of his father. It’s either leave or die. No more options, no more bargaining chips. In with Jeremiah, Madison talks more about the situation, about how he’s leading them all wrong. She offers him a solution: kill yourself. He won’t, though. He wants her to kill him. He’s sticking to his racist guns. Then once Nick shows up the deed is done; he finishes it off before mom can take a shot.
I’ve always loved Fear the Walking Dead. No denying the quality has shot up in this latest season. Mid-season break will take us into the fall, likely somewhere around when The Walking Dead premieres for its 8th season. I do hope we’ll get a 4th out of this one, too. So many good characters, wild situations, various plots and twists. Can’t wait for the return.
Out on his own, Jake (Sam Underwood) heads out in hopes to talk with Qaletqa Walker (Michael Greyeyes) about their problems. On the way he hears noises behind him: it’s Alicia (Alycia Debnam-Carey). She tells him about the Trimbol family being killed, that it was Walker and his people. Except we know the nasty truth. Of course it shocks Jake, though he wants to keep going, to try fixing things.
Madison (Kim Dickens) worries when Alicia isn’t around in the morning, though Nick (Frank Dillane) says to leave it be, she’s a grown woman. Then there’s Jeremiah (Dayton Callie), he isn’t so worried. And he’s egging Nick on, further towards a violent edge, in the same way of Troy (Daniel Sharman).
Walker shows Alicia the bones of his great grandfather. He had to take them from his grave, so as not to be desecrated by the Otto family and their plans for the ranch. This gets the two of them into talking about the afterlife. The Native leader he believes there’s a “grand plan” and that the apocalypse is merely the “Great Unveiling” to him. He believes it’s the “dawn of a New Age” where the impure are shed like snake skin. The First Humans will once again inherit the Earth.
But Ofelia is cast out, as well. Beaten. She and Jake are dropped back home. Things are more unsure than ever before, for everybody. We also see the strength of Nick, saying he’s “suicide proof” and volunteering to stay behind to fight if things go haywire. Troy doesn’t dig that. It’s like he’s trying to create a whole new family, feeling protective over Madison and Nick, even if he sorta wanted to kill them at one point.
A solid episode leading up to the mid-season finale. “Children of Wrath” is next and there’s a war about to go down.
Bad Coop (Kyle MacLachlan), after being resurrected by the dark forces of the Black Lodge, wanders down a country road spattered in blood. At the same time, Gordon Cole (David Lynch), Special Agents Albert Rosenfield (Miguel Ferrer) and Tamara Preston (Chrysta Bell), and Diane Evans (Laura Dern) are flying high in the sky over South Dakota. Gordon gets a call from Colonel Davis (Ernie Hudson) about a case over in Buckhorn concerning Major Briggs. Should be interesting to see how that old “Blue Rose case” gets wound into the rest of the story.
Down at the LVPD, Dougie Jones (MacLachlan) and his wife Janey-E (Naomi Watts) are dealing with the fallout of almost being murdered. An investigation being conducted into the whole ordeal, talking to Dougie’s boss, so on. His strange behaviour is one thing. The fact someone’s blown up his car, tried having him killed, it’s all getting more suspicious. The cops also find out there’s nothing about Dougie before 1997, no proof of his existence. Is it a Witness Protection thing? Or something stranger?
In Buckhorn, Gordon arrives to see the body at the morgue. More importantly? The message bad Coop sent earlier from a cellphone arrives on the phone of none other than Diane. Shit. I never anticipated there was possibly something shady about her.
Gordon wants to chat with Hastings, who’s in no fucking shape to do anything, crying and moaning in the interrogation room. Special Agent Preston goes in first, asking about the Zone, the other dimension. He talks of going with others to where the Major was “hibernating” in this place, asking them about “important numbers.” When they brought the numbers people came for Hastings, asking about his wife. After which she turned up dead. The Major also disappeared, saying “Cooper, Cooper” as he went. When Preston shows him a six-pack of faces, he correctly picks out Mjr. Garland Briggs. Although we get bits and pieces, connecting back with the original series, so much still is unknown. Love it.
At the Roadhouse, a couple women meet over beers. They both look and seem down on their luck. One has a nasty armpit rash that’ll make you cringe as she scratches. They talk in code about a “penguin” and a “zebra” amongst talking about their bummer lives. Meanwhile, Au Revoir Simone plays in the background, a sharp contrast from the two women and their drug ravaged teeth.
Kevin (Morgan Spector), Mia (Danica Curcic), Bryan (Okezie Morro), and Adrian (Russell Posner) make it to the vehicle outside the church. But when Mia tries hotwiring it, nothing happens. The engine won’t even turn over, whatsoever. At the same time, Adrian’s the only one who witnessed the terrifying butterfly death of the other man recently.
At a gas station, Kevin and the others run into a man with a gas mask and a gun. He knows that Kevin is Eve’s (Alyssa Sutherland) husband. His name is Clay, he has a boy in her class. He’s lost now, somewhere else. But the group knows more than they tell him. Probably best, in case it drives him mad. He’s the one with a gun.
The games store boys have a harpoon, they’re latching onto the soldiers corpses in the shopping carts outside. Trying to reel them back inside. When one gets stuck Ted (Jonathan Malen) goes out using it as a lifeline. He doesn’t come back and Vic (Erik Knudsen) gets a shock as the glass breaks, the mist beginning to seep in through the book store. Where Alex and a little girl are reading together. A black mist creature appears, Alex and the girl trapped with it next to them. The thing grabs the girl by the face, sucking the life out of her. It stands in front of Alex, ready to do the same. Only it doesn’t. She walks free, seemingly unharmed. Although I’m curious to know if the mist has possessed her in some form.
Best of all is the religious war brewing, in the church no less. Natalie has called the spider in the jar “God” and she worships it; a false idol. This worries Father Romanov, some of the others. Especially considering they believe it’s Judgement Day. So the priest forcibly takes the spider, crushing it on the carpet. Horrifying Natalie. It’s a double-edged sword for the man of faith – on one hand, it illustrates how deep his faith is that he does feel they must adhere to the word of God or else perish; on the other, shows the weakness of his belief, that he’s threatened by an old lady and a spider in a jar.
Great episode! This series is getting stronger with every chapter, honestly. Started out just decent, now I’m gunning for this one. The Mist continues with “The Waiting Room” next. Surely there’ll be more tension and creeps in the episode to come.
A couple years ago I saw a short called Foxes on Google Play, scooping it up. The poster felt similar to something I would’ve seen as a kid around Halloween. But it was more than just a short bit of horror. It was an experience. The imagery director Lorcan Finnegan pulls out of the brief film is stunning. So, I knew immediately his dreamy-type directing was my brand.
Part of the story feels epistolary, in that our main character Eric (Alan McKenna) finds this text by William Devoy called Knowledge of Trees, other books on the shelves sort of unnoticed such as Occult Defence among more titles. It’s got the feel of a classic horror story in the Gothic vein from the start.
I want to draw a line between the ecological pieces of the story and the personal story of Eric, especially the fact that he’s cheating on his wife and mistreating her. He’s sent out to survey the land in a mysterious forest, likely for a contractor to come in and bend it to commercial, capitalist use. Even just his gear planting into the ground is treated in horror imagery, as if they’re knives stabbing the soil, the sounds making it feel as if the Earth itself is being injured.
There’s a uniquely satisfying aspect to Without Name, even if it’s quite slow burning. Finnegan draws out the horror of the natural world, taking us into a deep madness. Although I do feel there’s a definite ecological perspective in here, I don’t think the story or the director are pushing to make it a message.
I’ll always defend found footage because, when done right, the results can be shockingly impressive, and really scary. There’s a lot of misfires. It’s a relatively new subgenre, in terms of popularity, considering movies like 
Altar succeeds investing the audience in the characters. These people feel real, like they’re actually a group of friends who’ve known one another a long time, we revisit their nostalgia alongside them on this reunion trip. There’s a lot of good organic little scenes where the characters all build up through dialogue that’s not just jammed with exposition. Even a decent explanation aside from ‘I wanna record our reunion’ that plays well into the relationships between certain characters. While not every aspect of the writing impresses me, Sconce makes it all feel natural. Lending to that are the believable performances of the lead actors.
The creeps are subtle and spaced out. It isn’t until the final 20 minutes when things unleash, when the tension boils over and there’s nothing but a spiral towards madness. Sconce avoids the usual ‘Turn off the camera’ moments, the constant infighting, sudden ruined friendships over fear. He opts to go for more of a group terror, one that lingers like static every moment we follow the group of friends. It’s not as if anything unexpected happens. What works is the tense, unsettling suspense of the last 20 minutes.
I personally feel Altar‘s more worth your time than many efforts out there. Better than most of the sequels to 
Tracy Loach (Gianna LePera) calls Eugene Root (Ian Colletti), back… before, well… you know. He arrives at her house, she’s crying and clearly upset. She’s been humiliated by her boyfriend. Cheated on. Now she plans to kill herself with her dad’s gun. Everything is in place. Suicide note and all. It’s a pretty good one, truthfully.
Jesse (Dominic Cooper), Tulip (Ruth Negga), and Cassidy (Joseph Gilgun) are heading into New Orleans, listening to a bit of jazz. Although not every one of them’s such a fan of the music. Tulip’s got secrets, too. She doesn’t want to wind up running into Viktor, bits of her past that her man may not necessarily feel so hot about, I’m guessing. Regardless, the preacher is looking for God. And knows he digs jazz, as well. The vamp isn’t particular, either. Long as there’s booze involved, maybe a bit of a few other substances.
On and on through the French Quarter, our preacher roams. “Looking for God” gets him laughed at, punches thrown in his direction, much more. He drinks his way from bar to bar, keeping up the search. Nobody has any good answers, you can be sure. Until one bartender suggests talking to a singer in another local bar.
Hell isn’t a nice place, like you guessed. Trapped in a grimy, nasty prison, the sounds of people wailing and crying and an endless-looking hallway of other cells outside of Eugene’s own. Not to mention the people bunking nearby. Such as the German fellow across the way, Adolf Hitler (Noah Taylor). One of many souls trapped in the darkness. Not a nice guy to be sharing a block with, probably into some weird shit.
“Viktor” is next, we’re definitely going to have a look into the past of Tulip and the titular villain. Furthermore, notice files on both Jesse Custer and one named simply Pig?
At the ranch, Nick (Frank Dillane) is doing a bit of shooting with his new buddy Jeremiah (Dayton Callie). In bed, Alicia (Alycia Debnam-Carey) worries about her mother Madison (Kim Dickens), not back from her search with Troy (Daniel Sharman) to find out who took down their chopper. Jake (Sam Underwood) assures her nothing will happen, his brother promised to take care of Madison.
Jake: “Most people here are libertarians, they don‘t take orders very well.”
Down in the storage room, Troy finds a couple of the Trimbol family looking to take a few things and leave the ranch. Things get tense, as Nick watches on. Although they defuse themselves, just barely. Outside, Gretchen’s dad Vernon (Hugo Armstrong) talks to Jeremiah about leaving. He wants to get out of there, Madison tries talking him out of it while Jeremiah couldn’t care less. More and more we’re privy to the real Jeremiah, as well. He’s getting a bit crazier.
Jeremiah’s back on the bottle, too. He fell off the wagon, hard. He’s real drunk, offering Nick some; the former addict refuses. This shows us how Otto is falling apart inside, the composed outer shell beginning to slip. Nick is sort of like a third son, from outside able to see inward where the other two have their heads wrapped up in other things. I wonder where their relationship goes, the endgame. Right now it’s friendly, a kind of comfort for the old guy.
Another fascinating chapter in Season 3. I mean, wow! I’ve loved this show since day one, but they keep on surprising me, making it deeper and more relevant and compelling all the time. Truly worthy of more praise than it gets. “The Unveiling” is next week, I’m wondering if something big is about to happen. I’d bet on that.
J (Finn Cole) is learning to shoot, under the tutelage of a professional friend of Smurf’s (Ellen Barkin); they set him loose on a training course, the range. With grandma’s help, her physical and emotional closeness, J’s able to pop off the impressively aimed shots. Their relationship gets deeper, even while indulging in gun violence. Dangerous sort of thing.
Everybody’s doing their thing and managing to keep their eye on the job, their little side things. At least for now. Craig (Ben Robson) isn’t as keen on J’s involvement as the others, even after quitting the job. He’s being a big “baby about it.” So Deran calls him out. And let’s face it, Craig IS a piece of shit.
At the house, Craig whines about not being on the latest job, although he quit. Nicky talks truth to him. And he’s too immature to take it serious. Doesn’t want advice from a teenager, doesn’t mind fucking one, either. Idiot. That relationship is going to cause a rough situation at some point. If they follow the film’s plot, it’ll be particularly tragic.
These dudes are sophisticated, using every modern technique at their disposal. Deran keeps an eye on the situation outside with the security guard, while J and Baz get themselves into the safe under the floor. They certainly leave behind a mess, between the soundproofing foam they spray to drops of J’s blood in the ducts. But, for the time being, our boys are off with another bit of money, another heist in the books. They try continually dropping the safe from a crane to break the locking mechanisms. Soon, they do, and they find bags filled with cash. An actual heist that was worth the effort.
On the beach where he crashed, Craig is found, unconscious, fucked up. Simultaneously, Nick helps poor J tend to his nasty wound. And fresh off a hitch hiking journey, Smurf makes it home with serious regrets from the past. All ain’t well.
The Saint of Killers (Graham McTavish) approaches Jesse (Dominic Cooper), drawing his gun. He shoots and a truck runs in the bullet’s path, killing the driver. Swerving the truck right into him, squashing him against a post. You can bet this motherfucker ain’t dead, though. He pushes the truck off himself, no problem. Meanwhile there’s a bunch of gun lovers staying at the inn, they pitch in to shoot the Saint down. Not a long lived celebration. The cowboy gets back up and starts gunning them all down, aside from Jesse and Cassidy (Joseph Gilgun) who manage to slip away. And Tulip (Ruth Negga), she’s transfixed by a bit on television about Annville blowing sky high.
We see Fiore (Tom Brooke) for the first time in quite a long while. He’s sitting on the side of the road, waiting for a bus. It takes him to Mumbai Sky Tower. He checks in to a room. He misses DeBlanc. And he’s decided on killing himself, hanging to death by the bed. Reappearing in the bathroom, of course. A meaningless existence. He does a sort of Groundhog Day-style suicide, doing himself in only to regenerate once more. Joyless in life, whether winning a ton at the tables or having sex with beautiful women. Nothing excites him anymore. Even kills himself during one of the shows by the house singer Frank (Vik Sahay), and everyone gives him an ovation, assuming it’s a magic act. So they hire him, as Ganesh the reincarnating man. Going so far as to behead him, amongst other nasty deaths to the thrill of the audience.
Tulip: “You‘re one of the best figure it outers I know, Jesse Custer.”
Finally, we hear of Eugene aka Arseface (Ian Colletti), thrown into hell. Fiore refuses to go back down and get him, as well. So that’s out of the picture. Moreover, Jesse says he’s starting to release the implications of Genesis, that it ought to only be used in dire circumstances. If it means “finding God.”
Fucking great episode. So many interesting things, a bit of that comic book love, a crazy sequence of the lads on drugs. Such a wild ride! “Damsels” comes next and I’m looking forward to seeing the next leg of the journey, which characters our friends run into, as well as what mad shit the Saint will do, who he’ll kill, how badly he’ll kill them. Long live Preacher!
Russell (Worth Howe) wakes to find his wife Martha (Heather Wynters) having turned. He welcomes her into his arms. She can only gum at her neck, her teeth in a glass by the table. One of the more profoundly creepy things I’ve seen. These are the old people Nick (Frank Dillane) saw dancing before, in the previous episode. The old man puts a gun to his head, pulls the trigger, and kills him and his wife. Knocking over a lantern, setting fire to their house.
Everyone’s dealing with things in their own way. For her part, Luciana (Danay Garcia) thinks it’s romantic that they were “together ‘till the end.” She wants to leave that ranch and get to Tijuana. She says there are prohibition tunnels she and Nick can use to get there. He stalls, which worries her. That he might not be able to leave his family.
The title of this episode comes from Charles Bukowski. We see that Jake likes him, he’s a bit of a writer, too. Catch is when he gives Alicia a copy, she refuses it saying: “What‘s the point?” This brings up an important part of the apocalypse. Some people still value things, such as art. Others feel as if these aren’t worth holding onto, when survival is pretty much the single thought on everyone’s mind.
Strand and Daniel arrive at the hotel after nightfall. The place is an absolute mess of dead walkers, blood, guts, broken glass, broken everything. Then the old man makes Strand tell the truth, nearly feeding him to the walkers. Although he manages to get away. Not quick enough, as he watches Daniel take off in the car without him. Again left in a horrible predicament.
YEEHAW, WE’RE BACK IN THE SADDLE! One of my favourite new shows in its initial season. Here we go again. Thus begins the Search for God.
Cassidy: “Sure we all got sides. Me, I got tons of ‘em.”
The trio head to a place called She She’s where there’s jazz playing and nearly naked women. Perfect place for the vampire to shag around. Jesse and Tulip find Tammy out back, she doesn’t exactly want to talk. Although after a moment she gives up the story – God came into the club “a couple times” to sit in the back, requested “Walk to the Peak” from the band. But all ain’t rosy, Tammy says there are no answers, only a cold and horrible feeling. The two debate whether to beat the answers out of Tammy, or use Genesis.
What a perfect fucking episode! Solid Season 2 start, I couldn’t have hoped for better. A lot of the stuff we love about the characters, a tad bit of development, and new stories to open up. “Mumbai Sky Tower” is next, stemming from those commercials we see on the motel TV sets.
Bad Coop (Kyle MacLachlan) and Ray Monroe (George Griffith) are following a tracking device out into the woods on a desolate road. They have a little chit cat, the latter apologises for taking off on his buddy. Seems like ole Ray is trying to squeeze a bit of cash out of the doppelganger, a bit of important information he knows is worth a few bucks. So he thinks. Along the dark road they stop so Ray can piss. He pulls a trick on the bad Coop and pumps a couple shots in him.
Nine Inch Nails plays for us in this episode, which is sexy as fuck. Two of my great loves coming together at once. Great goddamn performance, too. It’s so wonderfully filmed and for me it fits like a glove.
We’re taken further, as well. Lynch brings us into a suspended atmosphere where we come to a huge structure, almost an obelisk in the darkness. Inside is similar to an old apartment building from the early 1900s. There’s a woman looking upset. The Giant (Carel Struycken) is there, a concerned look on his face. And there’s a large transformer of some sort, it keeps making noise and lighting up, over and over, until the Giant turns it off. There’s a similarity between this place and the place where Coop wound up going through on his way back from the Black Lodge. So, is this like a type of Limbo, a Purgatory? If so, is the electrical transformer a vessel, or does it transmit messages?
Jump ahead to ’56. In the desert. An egg hatches, a creature slithers out and crawls through the sand. later, we see it closer as a half frog, half fly-type of thing. Like two pieces of a Biblical plague mixed together.
A young couple walks home alone together at night. The boy kisses the girl and heads off. The Lumberjack is still looking for his light, too. He walks into a radio station, finds one woman and puts a hand to her head, crushing it, or melting it. But either way: BLOOD! He does the same to the DJ. Everywhere in town the radio goes mad. Until the Lumberjack decides to use the airwaves to send a message: “This is the water. And this is the well. Drink full and descend. The horse is the white of the eyes and dark within.” Through the electricity of the radios and the airwaves, the Lumberjack’s words infect people all over town.
What a fascinating chapter. This was so spooky, unnerving, surreal. One of the greatest television episodes, of anything, ever. Definitely at the top of the surrealist pile for Twin Peaks. And strange as it was, it’s putting together parts of its mythology. One episode at a time. And what will become of the poor girl who swallowed that frog-fly-thing? Yuck.
Everyone at the church wakes up, the first morning after the mist came over their town. Adrian (Russell Posner) worries the others are “all dead” but Kevin (Morgan Spector) assures him they’re okay, that they’ve survived just like them. Upstairs, they look through a stained glass window’s scratch to spy a vehicle worth taking. They’ll need Mia (Danica Curcic), though the kid doesn’t trust her. And there’s the fact Connor (Darren Pettie) has her handcuffed. Those two dads are going to have a difficult moment, at some point.
Natalie (Frances Conroy) talks about finding something 1860 in the newspapers. She’s told it’s supposedly a local legend concerning “the Black Spring” – a curse, after the murder of a young woman. Even creepier is they can see her husband Benedict lurking out there in the mist.
Later when Kevin tries helping to free Mia and Bryan, he winds up down there with them after Connor the pig – in two senses of the word at this point – says some heinous shit about his wife and daughter.
The priest believes God’s testing their faith. Of course, what else would be think? He reels off the story of Job to Adrian, telling about the challenge of Satan to God. Et cetera, et cetera. Job prospered in patience, ever faithful. The kid’s reaching out for any kind of love, even if it’s the love of God. So long as it’s genuine. An interesting gay character I want to see more of throughout this season.
I’ve got to say, The Mist is defying my personal expectations. I didn’t think it’d thrill me in the way it is already. First three episodes are fantastic, I look forward to the rest. These characters have drawn me in, their predicaments are compelling. Effects aren’t always perfect but they’re intense and imaginative at times so far, so that’s enough for me.
