Hood and Brock go on a road trip to New Orleans, tracking down Chayton Littlestone for revenge.
Banshee – Season 3, Episode 8: “All the Wisdom I Got Left”

Hood and Brock go on a road trip to New Orleans, tracking down Chayton Littlestone for revenge.
When Hood enacts the plan to rob the military compound, Job isn't sure he's ready. But they go anyways. Consequences be damned.
CBS’ American Gothic
Episode 13: “Whistler’s Mother”
Directed by Greg Beeman
Written by Corinne Brinkerhoff & Aaron Fullerton
* For a review of Episode 12, “Madame X” – click here
The finale is here – “Whistler’s Mother” you may remember is the informal name given to Arrangements in Grey and Black, which is the first episode of this mini-series. Why that painting, you wonder? This last episode in particular and yet so much of these episode has consisted of a focus on who?
Mama Hawthorne.
Everybody’s out voting for Mayor of Boston. Madeline (Virginia Madsen) is worrying about the “crazed dollmaker” after her family. So she has private security watching the house, and her paranoia is high. Tess (Megan Ketch) and Cam (Justin Chatwin), along with Jack (Gabriel Bateman), are down at the Alison Hawthorne (Juliet Rylance) campaign HQ. Even Garrett (Antony Starr) turns up to support his sister.
But nobody’s seen Alison. Where could she be?
Over at the station, Detectives Linda Cutter (Deirdre Lovejoy) and Brady Ross (Elliot Knight) lay the whole case with the new evidence out for everybody. Then Brady gets a call from his wife, worrying about her sister. Now, they’re worried the accomplice is very, very close to the campaign.
We all know from last episode it’s Naomi.
Or is it? That secret she had was all about union workers, supposedly. A background check proves Naomi has always been Naomi. A dead end. Ahhh, tricky. Only problem is the cops are still at square one. And who could be the accomplice?
Sophie (Stephanie Leonidas) ends up at the Hawthorne door. She wants a few pictures before heading off for good. At the campaign HQ, Jack is starting to feel the effects of not having his mother around; he reads too much. Simultaneously, Christina (Catalina Sandino Moreno) has turned up to reconcile with Garrett. She’s planning to move to San Francisco and hopes he’ll go. Although he doesn’t want to leave his family, not after everything.
The detectives go to the grave of SBK’s wife, to see if maybe someone comes to visit. He has an epiphany about the cherry blossoms on Sophie’s neck. Just like the ones at the graveyard. And all alone in the mansion with Madeline, we find Stephanie revealing herself a bit more. Most of all after she plants a needle in her former mother-in-law’s neck. Jesus. I honestly never saw any of this coming.
Where do we go from here? Well, Madeline gets tied up for the time being. Sophie talks more about her life, her mother, her father and his ‘art’ of sorts. Seems SBK got his kill list, for him and his daughter, from the donors at the hospital. She tells us that the bells were there to symbolise the one thing that could save their victim stays “just out of reach.” When Cam turns up things get tricky. She reveals their love stayed her want for revenge, but of course things went sour.
Everyone’s closing in now. Will they make it to the mansion in time? Or will Sophie enact the last breaths of her plan for revenge? Looks like she managed to at least strangle Madeline.
Cam manages to get a gun and point it at Sophie. But Garrett doesn’t want him to kill anyone, not like he did, and to have to live with those memories the rest of his life. He prevents Cam from making a terrible decision. Yet Sophie makes off into the night once more.
In other news, Alison wins her bid for Mayor of Boston. What good is that when your family’s being hunted? Small victories, I suppose.
The Hawthorne family is devastated. For all her faults, it’s still not nice to have your mother murdered. And to have been infiltrated so deeply by SBK’s daughter, his accomplice. Just, staggering. Brady kicks himself for not seeing it sooner, though Cutter tries to assure him he couldn’t have known, and at least now they DO know. They came around to becoming better friends and partners throughout the entire ordeal.
Skip to a year later. Everyone is doing well, Tess and Brady have their child, Cam and his lady friend are getting closer finally. The family is okay after all. Somehow. There’s still creepy Jack. Who knows how they’ll eventually end up. Naomi and Alison are together, happy. Then Garrett and Christina show up with their own little family.
With his little bear still holding his mom’s recorded voice, Jack stands alone listening to it, wondering when she’ll come back to take him. Because a normal life is not what he wants. He’s got that nasty gene somewhere deep down.
We discover more of the secrets hiding amongst the Hawthornes. Alison knew a long while ago that Sophie was the accomplice. She revealed it to her former sister-in-law. Hmm. She even kept one of those bells instead of tossing them all. Thing is, Alison made a deal: don’t kill anybody else, just mom. Holy. Shit. Kills her mother, essentially, and creepily she’s JUST LIKE HER MOTHER. What a twisting, turning, strange little end.
With these last words, Alison ends her interview and the mini-series: “You can be a victim of your circumstances, or you can summon the strength to push through; no matter what. Today our family is thriving. I think my mother would be proud.”
The end personally surprised me, from the opening of this episode to the finish. Far as I know this is only meant to be a mini-series. I dig it that way. Leaves you not with questions, but with a deeper idea of the corrupted roots of the Hawthorne family. What was done cannot be undone. It begets more of its own violence, the secrets of their family. Lots of fun, weird stuff that happened, too. Throughout the whole series. I had a blast, honestly. Didn’t expect to get so into it. Yet here I am. Hope some of you reading have enjoyed as much as I have. A stellar finish, way better than anticipated!
CBS’ American Gothic
Episode 12: “Madame X”
Directed by Edward Ornelas
Written by Allen MacDonald & Lauren Goodman
* For a review of Episode 11, “Freedom From Fear” – click here
* For a review of the finale, “Whistler’s Mother” – click here
The penultimate episode upon us, its title comes from a John Singer Sargent painting formally known as Portrait of Madame X, but also just as Madame X; you can find it here.
So has the truth come out? Are Garrett (Antony Starr) and his mother Madeline (Virginia Madsen) telling the truth?
For now, they’re dealing with the diorama of their house including a figurine of each family member dead. Everybody’s back under one roof, as Brady (Elliot Knight) comes back with Garrett. Cam (Justin Chatwin) takes Jack (Gabriel Bateman) away, not wanting to be in a house supposedly targeted by the accomplice to the Silver Bells Killer. Most interesting is that Tess (Megan Ketch) appreciates what her older brother did for her. She tells Garrett: “You should run.” All but begging him. To start a new life, maybe get the chance to be a part of his son’s life with Christina (Catalina Sandino Moreno), someday. But he doesn’t want to do that. He’s all about family. “No more running,” he tells Tessa.
One thing’s for sure, Garrett and Madeline have fallen out completely. No love there. As far as legality goes, they’re both given suspended sentences so long as they cooperate with the investigation.
Oh, Alison (Juliet Rylance). She can’t let go of Naomi, who’s back in Boston for a little while. Their relationship was clearly more deep than a fling. You can tell just by how they talk to one another. When there’s cable being run in the Hawthorne residence, Alison discovers a box of silver bells in a vent. The ones Madeline said were gone so long ago. Uh oh.
The police are doing their jobs now, all over, from fingerprinting the little diorama mansion to a sketch artist. Detective Cutter (Deirdre Lovejoy) and Detective Ross aren’t exactly pleased with two completely different drawings from the mother-son descriptions. But then Garrett remembers a tattoo on the man’s chest; a Brigid’s cross. Not exactly a perfect clue. A clue nonetheless.
Young Jack (Gabriel Bateman) relaxes watching stuff about jellyfish while his mother Sophie (Stephanie Leonidas) sneaks in, locking Cam in the bathroom. “You wanna go for a ride?” she asks her son. Shit. I do not like the sounds of this, I don’t know she’s capable of, really. By the time Cam breaks out of the bathroom, she’s gone with Jack in tow, and a knife in her husband’s tire.
Alison figures out that her mother is the likely culprit of Jennifer Windham’s death. Yikes! That woman is one bad bitch. Even admits to her daughter what she’d done. All for the family, right? Oh, my. “You can justify anything,” Alison nearly weeps. She further pieces together that her mother killed off her father in the hospital. So ole Madeline’s officially a serial killer, I guess. And incredibly delusional.
Cam’s attempting to figure out where his wife has gone with their son, enlisting his sister Tess to help. They try tracking her down via credit card purchases, a bit of slick work from a couple rich kids. At the same time, Alison has the whole dilemma of wondering what to do about their mother. She’s too busy thinking about Naomi, though.
Over at her husband’s final resting place Madeline stows cash, a passport, all that good stuff. Just in case. Meanwhile, Garrett is at the station with Brady asking for a bit of help to track down Christina. We get a nice topical joke from Brady: “You need anything else? Maybe Hillary‘s e–mails, or Trump‘s tax returns?” At first I thought it was cheesy. Then I laughed a bunch. What we do find out: the accomplice must be female. The prints on the dollhouse diorama confirm it.
And so Alison tosses the silver bells box into the river. Letting the memories and souvenirs rest. Good idea? Certainly not the morally best idea. She lets her mother know, which obviously puts Madeline’s mind at ease. However, the ties are being cut. “As far as I‘m concerned you no longer exist,” Alison tells her before leaving. Ouch. Slash totally understandable.
Sophie took Jack to an aquarium. Nice gesture, if she didn’t technically kidnap him. When Tess and Cam show up, the husband and wife have a little confrontation. She talks about wanting “one last memory” and hopes her boy won’t forget his mother. I worry she might do something to herself. She isn’t a good mother, or person, but still…
WHOA! Nice little shock at the end.
The finale is titled “Whistler’s Mother” and I can’t wait to dig in.
CBS’ American Gothic
Episode 11: “Freedom From Fear”
Directed by Jet Wilkinson
Written by Andrew Gettens & Lauren Mackenzie
* For a review of Episode 10, “The Veteran in a New Field” – click here
* For a review of Episode 12, “Madame X” – click here
The title of this week’s episode comes from a Norman Rockwell series, Four Freedoms; the last of which is titled Freedom From Fear. You can see it here.
We last saw Brady (Elliot Knight) with his gun drawn, Garrett Hawthorne (Antony Starr) in his sights, as he watches him disposing of old human remains in a makeshift grave. Nasty.
So the brothers-in-law find themselves in an interesting predicament. “Tell me what‘s happened,” Brady quietly pleads with Garrett, lowering his gun.
More interesting still is that simultaneously Alison (Juliet Rylance), Tess (Megan Ketch), and Cam (Justin Chatwin) confront their mother, Madeline Hawthorne (Virginia Madsen). They know something has been hidden from their eyes. She reveals the bells recently dropped in her purse. And Mama gives up the goods.
Flash back to 2002, cleverly given to us through image instead of a date printed across the screen. 14 years ago, the kids are all sitting happy by the tree with mom, even dear ole dad, Mitchell Hawthorne (Jamey Sheridan), who sneaks out with an excuse as his wife eyes suspiciously. Young Alison’s already a campaign loving politician in high school. Cam is getting into drugs. Garrett is dating Molly. Behind closed doors the husband and wife talk of secrets, the accounting files Mitch had supposedly gone out to settle. Later in the night, a man makes his way into the Hawthorne mansion. At the top of the stairs he frightens young Tessa, and she pushes him down. Although as a grown woman she doesn’t remember. “It gets more complicated than that,” says mother. So with a guy dead at the foot of their staircase, Madeline and Mitch find… silver bells? Was Mitch to be framed?
Yeaaah, right. I don’t believe it for a second. How is she expecting to sell this? At the same time, Garrett tells the story to Brady. Another mother-son lie?
One of the better openings of any episode yet.
So a younger Garrett got a call, from Tess. That’s what he says, anyway. When he went home, SBK is lying dead, or so says mom and dad. They get Garrett wrapped up in the entire thing. “We can dispose of the body. No one needs to know,” Mitch tells his boy. And then the older brother convinces his little sister nothing ever happened; a fever dream mixed with medicine makes for bad dreams. While Tess remembers Garrett being a comfort whenever she’d get sick, she doesn’t remember anything of that specific event. Cam’s memory of that night is then SBK being hauled down the stairs. Problem is he was high on drugs, including a taste of mushrooms. Hallucinogens and dead bodies on the staircase. None of that’s any good for memory.
Garrett went to bury the body. Then the man wakes up, running off into the woods, even slashing Garrett with a knife a few times. This left the young man no choice but to stab the man to death in the dark of the woods. Now we have a supposed explanation for why Madeline found her son in the dark, bloody, holding a knife.
The whole story is quite a yarn. Tough to swallow, not only for the Hawthorne kids themselves, but also for Brady, trying to understand how it all makes any sense.
Well at least the other kids have some sympathy for Garrett. Or is that yet another brush under the rug for the Hawthornes?
Madeline reels off more to her kids. About those files her husband went to get that night, from none other than David Morales (Yancey Arias). They were incriminating bits that would sink the Hawthorne family and its business. Therefore, Mitch breaks out a belt, some gloves, and a silver bell. A nice way to “silence” Morales, to “save himself” is how Garrett put it: “He made me a killer. Just like him.”
Is Mitch a mere copycat of SBK, all to save the family reputation (and cash)? Still not solved. Still not.
Things went off the rails between Garrett and Mitch, after the father, in his hubris, attempted to justify his murder. When Garrett went to his mother, she played the part; the one she needed to play. Mom essentially blackmails her own son to keep him quiet. Yikes. No wonder Garrett’s got mommy issues. And daddy issues. And all sorts of other issues.
Mama tells her kids the accomplice of the true SBK is out there, and he is back now to torment them all. When Cam steps into the living room, he finds evidence that it may just be the case: there lies a diorama of the Hawthorne mansion with all of them posed as little characters, dead in various rooms with silver bells lying everywhere. So creepy. Almost like something Jack (Gabriel Bateman) would make. Or his mother Sophie (Stephanie Leonidas).
CBS’ American Gothic
Episode 10: “The Veteran in a New Field”
Directed by David Barrett
Written by Aaron Fullerton
* For a review of Episode 9, “The Oxbow” – click here
* For a review of Episode 11, “Freedom from Fear” – click here
Boston is now terrorised by The Silver Bells Killer, all over again.
Detectives Brady Ross (Elliot Knight) and Linda Cutter (Deirdre Lovejoy) are still working the case, as Madeline Hawthorne (Virginia Madsen) does her best to get her son Garrett (Antony Starr) out of legal trouble.
There’s a silver bell found at Jennifer Windham’s murder scene. One with the same indentation as the ones left in the original crimes. So, it couldn’t be a copycat. It has to be the accomplice himself.
Alison (Juliet Rylance) and Madeline both have to cooperate with the detectives. However, we know for sure that Mama Hawthorne has big secrets to hide. Mostly Alison has a couple skeletons – sexual in nature – but her mother has festering, rotten things hiding in her past. We’re soon going to see them start spilling out. I can feel it.
Well, Garrett meets with his younger sister Tess (Megan Ketch). She wants to know why he wouldn’t answer her question last episode, about whether he actually killed anybody. Her trust and belief in him is broken. “Cryptic comments” and “evasiveness” have her less than impressed. Then he tells his sister about Al Jenkins, that old chestnut. A mercy killing, essentially. But Tess understands. She isn’t disgusted or scared of her brother. Now, they have a closer connection, as he’s never told anyone else about Al’s death. He further reveals Christina (Catalina Sandino Moreno) is pregnant, even if their relationship isn’t exactly stellar. Can the will to love a child overcome the genetics of the Hawthorne family? It’s like a gamble having a baby in that clan.
Meanwhile there’s Cam (Justin Chatwin), whose time in rehab is coming to a close. He’s done well, obviously. He wants to get to know April (Bethany Joy Lenz) more, although she sticks pretty closely to the whole concept of rehabilitation and not pursuing romantic relationships so soon out. We’ll see how well that sticks.
Cutter has Alison in for a chat, a.k.a interrogation. When Brady finds his partner giving his sister-in-law the third degree, he isn’t happy. Not that anybody needs to protect Alison; she’s a bad ass. Either way, she and Brady get to sit down for a conversation instead, which leads to her admitting she may know who murdered Jennifer – Mayor Conley (Enrico Colantoni). Reason being is that Alison asked Jennifer to dig into him, his past, et cetera. Then she ends up dead. Alison gives Brady the pictures of Cutter with the mayor, and now he’s becoming a lot more interested in this seemingly wild conspiracy theory. It’s a tall accusation. If it’s true there is no telling who’s to trust. Both Brady and Alison understand this already.
At home, Madeline finds a window open and several belts all laid out on a chair. Eerie. She thinks perhaps Jack (Gabriel Bateman) did it, and y’know, it isn’t exactly out of the realm of possibility. Yet she doesn’t think much more of it after the kid denies. Even eerier.
Then there’s Jack’s mother Sophie (Stephanie Leonidas). She encourages the weird behaviour of their child by doing a project with him that consists of plenty blood (fake stuff). She needs help, but doesn’t have the self-awareness of Cam. I’m not looking forward to how things play out with this little family simply because of the drugs involved; you know there’s bad business on its way.
Sneaky Madeline finds out that the accomplice was likely at Mitch’s funeral, from a new detective on the case. Then, she calls him (we assume it’s a man). Tess hears part of their conversation, not all. Enough to be suspicious.
So, who could it be? Someone we’ve already seen? Or someone brand new to the audience? All we know is, even more so now, that Madeline knows plenty more than she has ever let on. To anybody. And maybe Garrett holds some keys to that knowledge. For the time being, Tess is smart enough to do some Caller ID magic and get the last dialled number: somebody named Caleb O’Connor.
Busy Garrett has things to do. His younger brother doesn’t want him to leave again. He worries for Jack and wants Garrett, admired by the boy, to stick around. “It‘s your call,” Cam tells Garrett. Before his brother heads out again, who knows where.
When the unlikely pair of Alison and Brady suss out a safe in a picture behind the wall at Jennifer’s place, they stumble upon a flash drive full of information on Conley.
Speaking of the Mayor of Boston, he and Cutter are being confronted by Brady and Alison. There’s recorded audio of Cutter and Conley talking about evidence being destroyed. But what evidence? When Morales was murdered, all those years ago, Conley was at his house. A cuff-link was lost, so Cutter was brought in, a young naive cop: $25K to lose some evidence. The Mayor has an alibi, unfortunately. There goes that theory.
At the Hawthorne mansion Madeline finds her purse filled with bells. In the background, a bell sounds. She’s distracted for the rest of the evening. Until Tess asks about Caleb – that’s the affair Madeline had back then. Yowzahs.
Anyway, you know that Jack’s presentation at History Night has got to be something special. He narrates while his mother helps with sound effects in the background. He tells of the big molasses spill. And suddenly, his weirdness is enjoyable, not creepy. Everybody laughs, his mother smiles. Jack is a happy, odd little boy.
Brady’s being put on leave for a conflict of interest, which surprisingly didn’t happen sooner. Strangely enough, he thinks that Garrett might actually have had something to do with the murders after all. Really? There’s so much mystery, it’s hard to tell.
An awkward moment comes when Jack and his father are out for a day together. Jack gets some gummies. When he pays $20 for it, Cam wonders why it costs so much. Mom’s been sending her boy to get candies with drugs strapped on the inside. Certainly not a happy situation. “He never knew,” she says hoping to excuse her behaviour. That’s the last straw. If not, Cam would be insane. He’ll get full custody of their boy and it’s no longer just a possibility. She doesn’t deserve to have that child. I’m just afraid she may do something awful.
Out in a public park, Tess and Alison meet with Caleb. He looks like any other regular dude. Nothing strange, immediately. What they get out of the meeting is that Mitch wasn’t dragging Caleb the night of their fight; so who did Papa Hawthorne pull down the stairs back in the day? What did Cam truly see?
All sorts of old secrets are bubbling under the surface. Madeline is constantly holding them back. When her children confront her, she’s backed into a corner.
CBS’ American Gothic
Episode 9: “The Oxbow”
Directed by Doug Aarniokoski
Written by Lawrence Broch
* For a review of Episode 8, “Kindred Spirits” – click here
* For a review of Episode 9, “The Veteran in a New Field” – click here
The title for this episode comes from Thomas Cole’s View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm. Otherwise known as The Oxbow.
I wonder where the series will give homage to the 1836 oil painting?
Brad Ross (Elliot Knight) is having a rough go of things. But at least now he’s got Garrett Hawthorne (Antony Starr) in custody. He’s got the missing piece and Garrett’s knife matched. Flash to 2002, as Madeline (Virginia Madsen) finds her son, covered in blood, holding a knife. “What did you do?” she asks.
Well, we’re not given a straight answer. He looks incredibly guilty. But what more is there. Much more, I bet. Madeline visits him in jail and tries to start spinning things in her favour, to help her son. Or is it mostly to help herself? For now, Garrett has an attorney working for him, although he’s not particularly worried about what she’s doing. Instead he rattles off quotes from Horace Mann: “If evil is inevitable, how are the wicked held accountable? Why do we call men wicked at all? Evil if inevitable, but it is also remediable.”
Back to 2003. A younger Garrett wakes up before his family arrives at the cabin, he takes off into the woods on his own again. While breaking into a cabin, he comes across Al Jenkins (M.C. Gainey) who isn’t exactly convinced with his story of just being out on his own, away from Boston. You can tell there’s more to that relationship.
In the current day, Garrett gets a call from Cam (Justin Chatwin) in rehab. Both brothers in their own respective cages. The older of the two apologises for getting his younger brother close to drugs the last time. Cam doesn’t think he needs to, but Garrett feels guilty generally for never being around. He confides in Cam: “You stayed true to yourself… I‘m so proud of you.” Cut back to the younger Garrett, out in those woods. He chases a rabbit with a knife until coming across Al once again. They have a bit of dinner together around the fire. They bond. This leads to Garrett getting his own cabin after Al leads him to the place of a now dead old man. And the life of the wandering Hawthorne begins. Al teaches him a thing or two about surviving on his own.
In present day Alison (Juliet Rylance) doesn’t believe her brother was an accomplice of any kind to the Silver Bells Killer, their dear ole dad. Who knows what’s left to be done for the elder Garrett brother at this point, though. In other news, Alison has Jennifer Windham (Sarah Power) started on a bit of dirty work trying to dig up dirt on the current mayor. Ah, the greasy Hawthorne ethic comes out strong in this one.
In 2002, after Madeline walked in on Garrett with the blood stains over him, the knife in his hand, she asks what he’s done. The young Garrett replies: “He tried to kill me.”
Everything gets deeper and deeper, with every turn.
A solid entry into the first season. Great episode! Suspenseful, mysterious.
Next is “The Veteran in a New Field” and is titled so after an 1865 painting by Winslow Homer depicting a man using a scythe in an open, empty field. You can find that painting here.
CBS’ American Gothic
Episode 8: “Kindred Spirits”
Directed by Lexi Alexander
Written by Deidre Shaw
* For a review of Episode 7, “The Gross Clinic” – click here
* For a review of Episode 9,”The Oxbow” – click here
Who are the titular “Kindred Spirits” and where will we find the influence of Asher Brown Durand’s 1849 painting in this episode? You can find the painting here, so look out for where the painting might be recreated or referenced.
So is Madeline Hawthorne (Virginia Madsen) accomplice to her husband’s crimes?
Garrett (Antony starr) is trying to get a lump sum of money out of his mother. Says it’s “in the family‘s best interest” to be paid. At the Boston Eastside Clinic, he gives them a bunch of it. He gives it all away. Perhaps a way for him to assuage his guilt.
Cam (Justin Chatwin) is headed into rehab. All over the news, too. In fact, the Hawthornes are being targeted quite fierce in the media by a young reporter named Jennifer Windham (Sarah Power). Certainly doesn’t help things. And Cam, he’s trying his best to kick that habit; he winds up meeting a fan of his comic Roger’s Cube, a nurse named April (Bethany Joy Lenz).
Detectives Linda Cutter (Deirdre Lovejoy) and Brady Ross (Elliot Knight) continue trying to figure out who was the second hand in the Silver Bells murders. A hit and run accident may hold the key.
Aunt Tessa (Megan Ketch) is looking after crazy little Jack (Gabriel Bateman), as well as meeting with her doctor. I feel awful for her in a lot of ways. She’s been swept up in a whirlwind of different emotions, which are all crashing up against one another. Tess is at least trying to do something for the kid. She takes him to a camp for… strange kids. I don’t know. Regardless, Jack doesn’t seem totally adverse to the idea.
Ms. Windham gets a visit from mother-daughter team, Alison (Juliet Rylance) and Madeline. They might’ve pushed too hard in the wrong direction. Not only that, she has lots of information on the Hawthorne family. Even knowing that Jack’s out at the creepy kid camp meeting an equally creepy young lady named Sadie (Aviv Cohen); she might harbour some of the tendencies.
Well, Garrett and the rest of the clan are now determined to dig up the “source” of all their troubles.
Sophie (Stephanie Leonidas) goes to visit Cam. She seems on the outside of her little family, as her husband is in there cleaning up, trying hard, just like her son, too. Maybe there’s hope after all. If only she weren’t totally full of shit most of the time.
Out on their search, Dts. Cutter and Ross come across a house in the woods. There, they meet an old woman named Ramona Canby (Clare Coulter). They’re looking for her husband, James. Except he’s dead now nearly three decades. And the car the detectives were tracking got stolen twenty years back.
Problem for Tess now is that she’s scared of passing on the horrific Hawthorne gene to her child. Infecting it with the want for violence and murder, like her father. Most likely the same with young Jack. Speaking of the boy, he and Sadie are getting closer; he mentions Garrett having a cabin near the camp. Also that he was suspected of being a serial killer, which interests twisted Miss Sady.
Alison and Garrett sit on Jennifer’s place, waiting to follow her, figure out to whom she’s been talking. The brother and sister reconnect slightly, but then they find out it’s Tom (Dylan Bruce), her husband. He is the source. Yikes. Their marriage is rough.
When Brady suggests there’s something bigger at play, Cutter shuts him down. However, you can see that he’s not willing to let that go totally. Better than that his keen eye discovers that old widow Canby lied. She had a program from Mitchell’s funeral in her home.
The 1849 Durand painting is given literal homage when the two kindred spirits in Jack and Sadie emulate the men in the picture, standing out in the woods above the forest, as if lords of the world. Dark lords, but still. They soon find Garrett’s cabin out there. Sadie fires a small crossbow nearly taking Jack’s head off. Then their bright idea is to play a bit of William Tell. Only Jack can’t bring himself to do it proving he may not be as sick as we thought. Definitely a tad too curious, though.
Sophie unsuccessfully tries getting April fired. This probably only drives Cam closer to the sweet nurse. She helps the guy, quite a bit. Further aiding him in realising that “Cam is to heroin as Cam is to Sophie” – a hate/love, burning bright and hanging low type of love. Nasty. Yet necessary.
When more personal Hawthorne details, including Tess’ pregnancy, make it out into the news, Garrett locates a bug transmitting from the dining room. That’s why Jennifer bumped into Tom at the house, where he had sex with her, after which she planted the device. Oh, man. Tom is one real dimwitted man. Nevertheless, Tess and Brady are at odds now because of the big pregnancy news, and she isn’t even too happy about bringing a child into a “horrific family legacy.” Their argument leads to him telling her Papa Hawthorne was working with an accomplice.
Meanwhile, the detectives go back to the Canby place at night. Front door wide open. Ramona lying dead on the floor. More victims of The Silver Bells Killer.
Alison confronts Jennifer with the bug, plus the truth about her and Tom. She’s a pretty intimidating lady when she wants to be, just like mother. She does a good psychological job on the young reporter. This rolls into Jennifer being pressured to do positive spins for the Hawthorne family. Along with a little humiliation. What a scene, wow!
In rehab, Cam tells Sophie they’re finished. “This is not what I want anymore, you are not what I want anymore,” he confesses coldly. That’s what true rehabilitation often means for those with friends or loved ones who are also addicts, or enablers. Sad, yet true. I know all too well.
Things with Tess are smoothing out. She’s feeling more confident about the baby, the family and life with Brady. Calm before the storm, I imagine.
At home, Alison, Madeline, and Garrett toast their latest success. Everybody’s friends, everyone is happy. Only Alison doesn’t know everything about her mother, or her brother. Most interesting is when Jack gets sent home from camp to Tess – he’s found with the knife he lifted from Garrett’s cabin. Just so happens Brady sees the chip in it, the missing piece, literally, to his puzzle. At least partly. The chip is in evidence, photographed clearly. Once Jack tells Brady the knife is from the cabin, things changed. Quickly.
So is Garrett the true accomplice? Or are we being led astray once more?
Great, great episode. One of my favourites. This was creepy, some new things came to light, and we’re consistently thrown off in regards to Garrett. Next up is “The Oxbow” and it’s named for the 1836 oil canvas by Thomas Cole – the actual name of the painting is View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm, but The Oxbow is the common name.
CBS’ American Gothic
Episode 7: “The Gross Clinic”
Directed by Steph Green
Written by Aaron Fullerton
* For a review of Episode 6, “The Chess Players” – click here
* For a review of Episode 8, “Kindred Spirits” – click here
To start, this episode is named after the painting by Thomas Eakins from 1875.
Last we saw Garrett (Antony Starr), he was not doing so well. Christina Morales (Catalina Sandino Moreno) is telling her side of the story, given the news that Garrett’s father was a match for The Silver Bells Killer. Supposedly.
The Hawthorne matriarch, Madeline (Virginia Madsen), is dealing with the fallout of the revelation that her husband was Silver Bells. Did she know? Well, for now we’re not sure. But then Garrett reveals that 14 years ago he found rope, bells, in his father’s things. He didn’t know what to believe. The day after, Christina’s father was killed. This made for a confrontation between father and son. He promised to come back if ever there were another Silver Bells murder. While Tess (Megan Ketch) isn’t impressed he didn’t tell them their father was a murderer, Alison (Juliet Rylance) isn’t so much shocked as she is at least relieved to know her brother isn’t the killer. Doesn’t make it any better.
Oh, and Garrett tells Cam (Justin Chatwin) he needs a little favour. Hmm.
Brady (Elliot Knight) apologises to his wife for jumping the gun on Garrett. He tries his best to assure her, about their marriage and so on. At the same time, she’s struggling to cope with the fact her father was a serial killer. Hard to reconcile. Although she tries. By smashing an ornament he once gave her; it’s a start.
Something sparks in Brady, though. He feels something isn’t quite right. Not yet.
This is confirmed more once we know there’s more to Garrett and his revelation. “It‘s best to let your father take the fall for everything,” his mother comforts him. I always knew there was more to Madeline and her part in this than any of what we know already.
Tess: “Was my dad real? Was Mitchell Hawthorne just a character that he played to seem normal so people wouldn‘t suspect he was a killer? Or was he just a normal guy with this desire?”
Brady and Cutter figure out the timeline is close, but possible. Just too close. The new owner of the house gives them a bit of information about a security system installed in the house due to a “Feng Shui bandit” back during that era. What Cutter believes is that it could’ve been SBK’s first attempt before going full-on murderer.
When Alison decides to concede defeat in her campaign, mom slaps her face. However, I believe Madeline is more concerned with her image, the family, not Alison in particular. She wants her dead husband to take the fall, once and for all, and to put the SBK saga behind them. “You will not squander this, for either of us,” she tells her daughter sternly. So rather than give up, Alison fights her family’s newly uncovered history.
In the hospital, Garrett gets a visit from Christina. We can’t be so sure exactly why he’s been stalking her. Is it guilt? Seems to me like maybe part of it has to do with guilt, in some way, shape, or form. She wants to know more, but there’s no guaranteeing that even if he decides to say anything further that it will be the truth. Luckily, Christina gauges his pulse from the monitors, as he reels off lies. “Last chance,” she tells him. To this, no response. He isn’t ready to tell any truths.
And scary little Jack, he’s luring his cousins out onto a pool that’s covered. This is just great. Another sicko in the family. The way he watches one of the cousins flail in the pool is downright evil. He’s got that nasty family gene. When Tess asks why Jack didn’t call for help, he simply replies: “It was science. I wanted to see how oxygen deprivation affected her brain.” Holy flip. That’s seriously muffed up. This all makes Tess try to get her brother to consider getting Jack serious help. Like any sane, caring sister would do.
Later, Tess gets a little good news: she’s pregnant. No guarantee the child won’t come out a budding serial killer, by the looks of the current progeny. Rolling the dice on that one, and it’s exactly what she’s thinking, too.
CBS’ American Gothic
Episode 6: “The Chess Players”
Directed by Ed Ornelas
Written by Allen MacDonald
* For a review of Episode 5, “The Artist in His Museum” – click here
* For a review of Episode 7, “The Gross Clinic” – click here
Who is The Silver Bells Killer?
Tess (Megan Ketch) and Brady (Elliot Knight) are finally on the same page. Meanwhile, Alison (Juliet Rylance) is onstage with Mayor Bill Conley (Enrico Colantoni) at the Boston Mayoral Debate. Gun control is a big issue, as usual. At home, Cam (Justin Chatwin) watches his sister with his creepy son Jack (Gabriel Hawthorne).
Then everything blows wide open when a reporter asks Alison about the Silver Bells murders, the police now officially linking the DNA to a member of the Hawthornes. Yikes. Not good press.
Back at the mansion everybody’s wondering what to do next. Mother Madeline (Virginia Madsen) is not pleased to discover Tess and Brady went ahead to have the DNA tested. I guess at least Cam is cleared. Only now someone within the ranks is most certainly the serial killer. “Which one of us is it?” Alison asks them all.
At the same time, Garrett (Antony Starr) isn’t present. He’s off in the woods somewhere with Christina Morales (Catalina Sandino Moreno). He has… something to show her. No cellphones allowed, either. Isn’t this getting unsettling? Personally, I feel like Garrett is too easy an answer.
Madeline believes the police “manipulate evidence all the time to fit whatever narrative they please” and she’s adamant. She believes the belt being found made them look bad, so now they’re being framed. My opinion? Madeline is directly involved in the Silver Bells murders. Before much more family time the police arrive. With a warrant: DNA swabs, any evidence they can find, et cetera.
There’s a part of Garrett that does seem genuinely infatuated with Christina. Is that all there is to it? Or, perhaps, is there guilt due to him having witnessed a clue to, or the actual act of, Christina’s father being murdered? Very hard to tell right now. Part of why I dig the series as much as I do. Not perfectly written, but there’s a good deal of interesting mystery, intrigue, and suspense.
At the Hawthorne house, Alison lays out her idea that Garrett was the killer. Then Cam reveals seeing a body dragged down the stairs when he was a teenager; he believes it was their father, Mitchell (Jamey Sheridan). Nobody’s sure, really. Everybody has their own opinion, though Cam definitely saw somebody with that body. Madeline puts her foot down after their talk. She doesn’t want to hear anymore nonsense.
I keep wondering about Jack, too. He’s definitely got the strangeness in him. “This house is full of predatory birds,” he tells his bewildered father. What I wonder most is if Jack will continue on the family tradition of murder later on down the road.
CBS’ American Gothic
Episode 5: “The Artist in His Museum”
Directed by Hanelle Culpepper
Written by Lauren MacKenzie & Andrew Gettens
* For a review of Episode 4, “Christina’s World” – click here
* For a review of Episode 6, “The Chess Players” – click here
Last we left Garrett Hawthorne (Antony Starr) he was taking off his clothes, brandishing that belt, and moving uncomfortably close to Christina Morales (Catalina Sandino Moreno). Is he the Silver Bells Killer? Too obvious, right?
Well, they get interrupted and Garrett slips that belt back on. He’s nervous, especially considering Christina’s friend swears she recognises him from somewhere. “I can‘t do this,” Garrett tells her before leaving. Damn.
Washing blood off his hands, Cam (Justin Chatwin) decides to take a nice dose of heroin. Right as Brady Ross (Elliot Knight), brother-in-law, busts in to find out what he knows about the whole SBK case. Cam’s just shaken up about Sophie (Stephanie Leonidas), the drug dealer. However, Brady lets Cam know about the picture, the belt, so the poor junkie’s got more to worry about than a drug debt or a possibly cheating wife or anything else. At the Hawthorne Mansion, Tess (Megan Ketch) tries to talk with her husband. Unfortunately there’s so much going on that I don’t think there’s any way any single one of them can keep a lid on things. Furthermore, Tess once more refuses to let the family DNA go to the cops when her husband wants to test the needle Cam was ready to mainline. For his part the guy doesn’t want to be a junkie. As a former addict myself, I know the struggle (not heroin; and that’s worse). Still, it’s tough to deal with as the people around an addict.
Oh, and dear ole mom is out doing her own thing. That strange note she got during the last episode is in an envelope. Madeline (Virginia Madsen) fills it with twenties.
The Silver Bells case is not particularly going smooth. Not for Brady. Detective Linda Cutter (Deirdre Lovejoy) continually breaks his balls, even if he’s fighting for the good side. His boss is willing to give him the benefit of the doubt. That’s all that really matters.
Alison (Juliet Rylance) and Naomi (Maureen Sebastian) are being blackmailed by a young woman working for the campaign. The one that saw them having a steamy time during the previous episode. While she’s extorting money, Alison has other pressing things to attend to apparently.
Now Cam is into the detox stage. He wants to get back on the wagon, shake the horse. Only problem is he’s seeing things. Terrifying things. Like silver bells falling out of the medicine cabinet. Like his father in the mirror, saying he needs to show his son a body. He’s hallucinating hardcore, as his father keeps chasing him. So much so Cam actually knocks his sister in the head accidentally. “You know what you saw,” Mitchell Hawthorne (Jamey Sheridan) says ominously to his son.
What an opener. This episode is titled after a painting by Charles Willson Peale, a self-portrait from 1822, in case anyone’s interested.
So the police are looking to speak with Cam, and the Hawthorne children are struggling to hide him. To hide other things. Even things of which they have no clue. The sort of stuff their mother is hiding. Of course they all have skeletons. Although the dirtiest, darkest ones belong to mommy.
All the while, Cam is detoxing. His siblings, despite their attitudes, are trying their best to help him out. He’s finding reality tough to delineate from his hallucinations and the dreams and all the rest of it. Alison supports him. Or is that mostly out of concern for her political career? Not easy to tell with the Hawthornes. They’re master manipulators. All of them.
The always amazing Lin Shaye makes a nice cameo as Lila, waitress at a diner. She’s the one getting money from Madeline – her daughter. Yowzahs! Love that. Shaye is a fascinating presence. Just to see her now, the way she grifts from one moment to the next, it’s no wonder Madeline turned out at least a little skewed. Looking forward to more of that backstory.
Meanwhile, Garrett and Alison are left together. He confronts her. Wondering why she’s avoiding him. She excuses it all because of her busy schedule. When she makes insinuations about Garrett, his past, he tells her: “I have no idea what happened.” And then he makes cryptic references about secrets, meant to hold onto that “greater good” or otherwise known as the Hawthorne family’s best interests.
CBS’ American Gothic
Episode 4: “Christina’s World”
Directed by P.J. Pesce
Written by Lawrence Broch
* For a review of Episode 3, “Nighthawks” – click here
* For a review of Episode 5, “The Artist in His Museum” – click here
This episode is titled after the painting “Christina’s World” by Andrew Wyeth from 1948, one of the most recognised images in American art from the 20th century. How will it play in? We’ll see.
Alison (Juliet Rylance) is busy with her campaign manager, Naomi Flynn (Maureen Sebastian). In bed. Meanwhile, Mama Madeline (Virginia Madsen) calls to let her know about Gunther’s suicide. This propels all the Hawthornes back to home base.
Then there’s Brady Ross (Elliot Knight), caught between his wife’s family and his duty. He’s doing his best and claiming the Silver Bells Killer is indeed Gunther. Oh, the little he knows. His wife Tess (Megan Ketch) is busy trying to convince her mother to tell the cops about the bells, seeing as how Gunther is the supposed culprit now. But mother and Alison don’t think that’s any good. I can’t help feeling Madeline is most certainly hiding much deeper, darker secrets. And now she’s got her youngest daughter Tess mixed up in the whole lot.
Cam (Justin Chatwin) is with his estranged wife Sophie (Stephanie Leonidas), and glad to not be a “suspected serial killer” like anybody would. These two are bad news together. No wonder little Jack (Gabriel Bateman) is a bit of a psychopath. His parents are degenerates, through and through.
Every married couple in this family has their trouble. Not least of which is the Ross arm of the clan. Brady tries apologising, admitting that everything is over at this point. Except Tess is getting sucker further into her family’s madness. That can’t be good at all for them going forward. The doubt about Brady, where his loyalties lie, is planted in her head. Mother exerts a strong influence.
More of Madeline’s deception comes out. A woman injured in the tunnel collapse is making things difficult for them. Of course mom makes it seem like the concern is for Alison and her campaign, but it’s more for the skeletons poking out of her closet. Doesn’t help now that Alison’s husband Tom Price (Dylan Bruce), hanging on by a thread in their relationship, owns Hawthorne Concrete. So he’s also got be involved. The whole thing isn’t going to go over easy. The woman agrees to drop her lawsuit for $15-million. Yiiiikes.