Hulu’s The Handmaid’s Tale
Season 1, Episode 10: “Night”
Directed by Kari Skogland
Written by Bruce Miller
* For a recap & review of the penultimate Season 1 episode, “The Bridge” – click here
We cut back to when the women were first being introduced to Gilead. Aunt Lydia (Ann Dowd) laments the “parade of sluts” in their regular attire. Even though they’re all dressed normally. This is a hyperreality of misogyny.
They’re instructed to clasp their hands, look downward. June a.k.a Offred (Elisabeth Moss) reminisces from her present situation, about the look in the eyes of the handmaids now, sentiment only previously known in spurts, never prolonged. Now, it is all they know. They’re indentured to the patriarchy.
June is brought to a dark room. Where Aunt Lydia and other aunts insert some kind of tracking device into her, blasting it from a nail gun-like contraption into the flesh just above her ear. Such nasty stuff.
But remembering, not forgetting is important. It fuels the determined rage which June continually feels, hopefully leading to her escape from all this someday. Right now, Serena Joy (Yvonne Strahovski) is taking out her frustrations on the handmaid. The lady of the house knows what’s been going on with her husband and their servant. She forces June to take a pregnancy test, after beating the shit out of her.
Whatever empathy I tried feeling for Serena is gone. She’s fully complicit in ways that go beyond any fear for her own safety. She is awful. Not as awful as the men, though. Never.
And now June is with child.
June: “They should‘ve never given us uniforms if they didn‘t want us to be an army”
Poor June, she has to remember her first pregnancy, a much happier and safer time when she and Luke (O-T Fagbenle) were able to feel excited for the coming of their child. These days, it’s ugly. Nothing to feel good about.
We find out more of what Serena’s discovered when she confronts her husband Fred (Joseph Fiennes). There’s further evidence Serena also helped write some of the laws used to enslave women in Gilead. The same laws and misogyny her husband uses to keep her down, to literally make her feel as if she’s at fault for his lust. Like he wasn’t wretched enough already. Serena then blasts him as “not worthy” to father a child, telling him that Offred’s baby is not of his creation. Christ, I can’t imagine what this will cause.
Later on Nick (Max Minghella) discovers June is pregnant. He reacts with tenderness, though I still feel it’s very problematic. She did feel something for him when they had sex. However, the fact she even had sex with him in the first place is STILL forcible. She would’ve never otherwise done so if she weren’t shackled by the patriarchy in that nation-state. Every decision which led her to those moments in bed with Nick were forced by misogynist law. Therefore I find it difficult to find this meant-to-be-touching scene at all nice. It’s creepy.
Moira (Samira Wiley) is out in the cold, sneaking through the woods. She comes across a farm; she’s in Ontario, Canada. Across the border, finally! This is a bigger ray of hope than I personally anticipated.
Off someplace unknown to her, June waits in the car. Serena heads into a house then comes back outside with June’s daughter, Hannah. Right there, where she’s unable to speak to the girl. This is one of the most cruel things Mrs. Waterford has done to the handmaid. Not THE most cruel; that would be holding her down to be raped. But this is so tragic, hurts the heart to see June so close to her daughter. Serena is despicable. And this has really pushed our woman over the edge.
June: “You‘re fucking evil, you know that? You‘re a goddamn motherfucking monster.”
Commander Putnam testifies to his sins, regarding the whole mess of a situation last episode with Janine (Madeline Brewer). The Council are sitting around discussing the offence. We see the hypocritical nature of them all, but most definitely Commander Waterford, whose own transgressions shine through clearly. Others aren’t so quick to forgive, such as Commander Pryce. So, what’s to be done? Putnam must offer a sacrifice to God, to show that he accepts his sins and the consequences. He gives over his left forearm to surgical amputation as a show of faith. Man alive, these fellas are some sick puppies. The lot of them. Bunch of perverted religious freaks.
That night, June goes to the Commander. Asking that he protect her daughter from Serena. She warns that Fred does not know his wife, the extent to which she’ll go, the depths she’s willing to sink to hurt one of her own kind. In her room June finds a packet of letters written by various handmaids, the postcards of abused and ravaged women calling out to the world for help. This is like viewing her own death, already written before her; figuratively and literally. It’s almost enough to make her want to give up. But she won’t, ever.
Moira experiences a culture shock, going from the US to Canada. She is now an American refugee in the land of freedom, where women are still people. The biggest difference is just dealing with men, seeing a man that doesn’t treat her as an object. He processes her into the country, welcoming her to Ontario, and offering all sorts of things she hasn’t been able to do in so long. One of the basics? Read a book. So fucking sad to hear, and at the same time glorious. (Also feel good being a Canadian.)
Alone together, Fred and Serena hash out their issues. He’s looking to the future, the expectancy of a child coming to them. She is, of course, devastated that it isn’t her having a child. Just like a typical abuser, Fred plays sweet right now. He talks a good game about being “a family” after the baby is born, and after June is gone.
All the handmaids are out listening to Aunt Lydia, performing one Gilead’s many strange rituals. They take off their “wings” – the blinders on their head gear – and proceed to each pick up rocks. They bring out Janine, punished for the crime of endangering a child. Set for a fatal stoning. Ofglen refuses to comply, and she’s cracked in the mouth with a rifle. After that none of them move. Until June steps out of the line, the men draw guns on her. The handmaid drops her stone. Next is Alma, then the others, all of them. Each replying: “I‘m sorry, Aunt Lydia.”
Will this start a revolution? Is this the beginning of their rebellion, or will this cause something worse? I feel it’s one of the first acts that will help liberate the women. Every revolution must begin with small steps.
In Canada, Luke and Moira find each other. She was on his list, as a family member. It’s a bittersweet reunion without June there, yet still wonderful. Just to know she is safe for now, that she isn’t alone.
All the while June remains in her room, under lock and key. Suddenly, men come to take her away. Although Nick says to trust him and go. The Waterfords protest, but the men take her regardless.
She’s put into the back of a vehicle, carted off. To who knows where. Punishment, or being saved? We’ll have to wait to find out.
What a spectacular finale, loved it! We know there’s a Season 2 coming, and I think that helped me with the ambiguity of the ending. I’d still have enjoyed it, anyways. There’s a lot of character development, plenty of things to get excited over for next season, and the tension was unbearable during a couple moments. Love the writing, can’t wait for next season already.
Ofwarren a.k.a Janine (Madeline Brewer) goes through the ceremony of passing over her child to the infertile wife and her husband, as Aunt Lydia (Ann Dowd) watches on. Nothing goes as smooth as imagined, of course. The wife is a lot less understanding than the husband, even Lydia. But Commander Putnam (Stephen Kunken) manages to get Janine to hand over the baby. Such a tragic thing to watch. Every bit of this existence is tragic; to see this type of thing happen is even more emotional. She’s forced to carry a rapist’s child to term, to grow attached, then hand it over without so much as a whimper.
Meanwhile, Commander Daniel and his wife are receiving their new handmaid: Janine. She is Ofdaniel now. Another identity laid upon her like a wreath. Lydia, using a bit of old Victorian imagery, tells her to “go like an open flower” to her latest captors. Yet in these few scenes, much as this old woman is complicit in the patriarchy’s authoritarian rule, she has the well of tears in her eyes. As if it’s all getting too brutal, even for her. Hmm… I wonder…
While her husband is away, cheating and raping, Serena is at home with Rita (Amanda Brugel). The lady of the house continually worries whether Offred is with child, if she’s having a period. Not only is it all rapey, it is so invasive, so creepy and ugly. Serena may be in distress herself, she doesn’t do any favours for herself playing into the patriarchal society of Gilead. Slowly, as she realises her husband’s more buried faults, I imagine she won’t be so eager to keep chugging along complicit.
When the Commander gets home Serena is, naturally, curious as to where he’s been all night. You can see the bond between them breaking, further every day. It’s a good thing, I think. Because there’s hope that Serena may someday see the light, perhaps step out of the patriarchy’s shadow and start thinking for herself again. Will she see the error of her ways? Or will Gilead swallow her whole entirely?
When June goes to pick up meat at the butchers, she’s given more than a cut of beef – she’s given the package meant to be picked up at Jezebels. And it’s a man handing it over. A trap? She isn’t so sure, paranoia runs high. Rather than not looking inside she curiously spies a card tucked into it; signed by Moira. YES, GIRL! YAS! Not only does she have the package for Mayday, she has hope again that her friend has not given up.
Fuck yes. Great penultimate episode, so excited for the finale! Last up is “Night” and I’m hoping they’ll get our adrenaline pumping for the end of this amazing, nuanced, and brutal Season 1.
After last episode’s revelation where Luke (O-T Fagbenle) discovers June a.k.a Offred (Elisabeth Moss) is alive, we go back to Gilead with her, as she also knows her husband isn’t dead. She keeps going back with Nick (Max Minghella), she regrets that Luke’s memory is fading and she’s becoming “faithless” by the day. She accepts it isn’t a “fuck you to the patriarchy” like she imagined, but rather a genuine, budding relationship between the two. What happens when/if Luke is back in the picture? Likely, all that love June has for him will flood back. But what about Nick? I wonder how he actually sees her, if he believes she’s his property or if he sees her as a human, someone he can love.
Fred takes Offred out on a date, while Serena Joy Waterford (Yvonne Strahovski) is away at her mother’s place. So the Commander takes her for a drive, showing her sights she’s not usually privileged to see. For the first time in so long, she’s out past one of the many security checkpoints of Gilead.
The last woman who held the position in the Waterford house where Offred is now committed suicide. She hanged herself in her room. Found by Rita (Amanda Brugel) and cut down by Nick. What’s most interesting is how after they send the body off, Serena berates her husband in hushed, angry tones: “What did you think was going to happen?” She knows of his misogynistic needs, his extra time with the handmaid serving him. At the same time, we see how this world in Gilead is wearing Nick down. Perhaps he’ll end up proving himself worthy eventually, by not allowing June the same fate as the previous handmaid.
Serena brought a little present from her childhood home for Offred. A locked music box with a tiny ballerina spinning inside. There’s a desperate connection wanting to grab hold between the infertile wife and the handmaid forced into breeding for the patriarchy. I can’t see it playing out well, not for them both, or for either of them. Yet I can see Serena does care, even the slightest, for the Waterford’s handmaid. She also knows more than she lets on.
Every episode is just fantastic. One of my most favourite television series’ to ever be, maybe. I just know this Margaret Atwood adaptation is fantastic. Next up is titled “The Bridge” and it’s our penultimate Season 1 episode. Buckle up.
We begin back before Gilead, as Luke (O-T Fagbenle) and June a.k.a Offred (Elisabeth Moss) flee with their girl Hannah. They crash their car, but Luke sends his wife and child off running while he gathers his gun and some ammo. In come the black SUVs and one fires on him, right in stomach. He fades out, thinking of June and his daughter.
Whitford helps them out to the woods where he lives, and they’re safe. For the time being. Their trustworthy friend also shows Luke how to load and handle a gun. Furthermore, U.S. passport “doesn‘t mean shit” these days, so Whitford’s heading into Canada to get them passports. At a lake near the cabin a man happens across June, Luke, and their daughter. In this world they can never be sure if it’s just another friendly face, or if it’s someone who’ll alert the Guardians to a free woman roaming.
One of the women shows Luke what happened at a place where fertile women were being hid. The town was trying to fight back. When the Guardians found them all, they were strung up from the roof of the church. She makes Luke look, to see what’s happening. To understand the grave magnitude of the situation, the depths of the male, patriarchal depravity at play. This changes his mind and he decides on going with them across the border.
Wow. This was an emotional ride. While I care more about the female perspective and characters, it’s nice to see the other people out there, Luke included. Now I’m wondering what he’ll do, now that he knows for sure she’s alive. Will he and others go searching for June and the handmaids?
We start as we finished last episode, as Offred (Elisabeth Moss) falls into actual passion with Nick (Max Minghella). She thinks of it the next day, but laments it won’t happen anymore. “Sorry, Nick.”
One thing Offred, the woman formerly known as June, has not lost is her spirit, and her sense of humour. She’s very sly, in many ways. Also there’s a clear connection between her and Nick. He does his best, outwardly, to deny this fact. It’s obvious, though. And they keep it as quiet a secret as possible. In the meantime, Offred’s trotted in to see the delegation. There’s a vast divide between women in Gilead v. women from Mexico, for instance. She automatically believes the ambassador could not be a woman. Even as smart and tough as June was, still is, she’s been brainwashed, beaten down by the system in this nation-state.
Alone together, Offred gets closer and closer with Commander Waterford. Perhaps too close. It’s a dangerous game, even if it’s a part of a plan she’s enacting over the course of time. He feels wildly unpredictable. He asks for a kiss, which she grants him. Later she scrubs her mouth raw with a toothbrush to get the taste out.
A rare lovemaking moment occurs between Mr. and Mrs. Waterford, going against the whole idea in Gilead that sex is for procreation only. Tsk, tsk. But I wish they’d get back to that, their old lives. Instead of raping women into pregnancy for their own cruel needs.
What’s going to happen next? What a grim yet still beautiful episode. Christ, they up the ante every week with this series. Next is “The Other Side” and I’m anticipating other, bigger things will come out.
Offred (Elisabeth Moss) and Commander Waterford (Joseph Fiennes) continue playing Scrabble. They have a drink in front of a fire. “He likes it when I flirt,” she tells us, discovering this for certain after 34 games. They’re certainly spending quite a bit of time together, which you can also be sure pisses off Serena Joy Waterford (Yvonne Strahovski).
Offred runs into Janine (Madeline Brewer) and others at the eerie, white-walled grocery store. Moreover, Ofglen (Alexis Bledel) – Ofsteven now – has returned, genitals mutilated and her soul crushed. She’s adjusting to the new life. Offred wants to know about The Eyes, whether Nick is one of them. Then she discovers something called “Mayday” before being pulled away by her latest handmaid partner, Ofglen #2 (Tattiawna Jones).
Poor Ofsteven. Her life somehow got worse than it was previously. Now she adjusts to a life without a literal, physical part of her. We briefly see some woman to woman care, just a glimpse, as she’s offered a slight hand by her female keeper. But Ofsteven recognises the fact there is no escape from the nastiness of a handmaid’s life.
“Better never means better for everyone. It always means worse for some.”
Another stellar episode, one that bridges the past and present in such a tangible way through Offred(a.k.a June)’s memories. I can’t get enough of the series, especially the acting and the heavy themes presented with such grace. It’s all around a fascinating show, coming around at just the right time in North America certainly.
After Ofglen (Alexis Bledel) being subjected to genital mutilation, and Offred (Elisabeth Moss) not yet pregnant, suffering the misogyny of fellow woman Serena Joy (Yvonne Strahovski), some might think Margaret Atwood’s The Handmaid’s Tale couldn’t get any worse. Right?
Commander Waterford (Joseph Fiennes) and Serena don’t have much of a relationship, which isn’t exactly a surprise. “We‘ve got good men working on it” is his answer when she tries to give valuable input; albeit input into the patriarchal madness. Still, that divide between her place in that society and where she believes herself to be is always clear. More and more to herself, as well.
Back to Offred, who uses Moira as inspiration to not let those bastards get her down. She goes to see Commander Waterford. They play Scrabble, he drinks and tells her of his trip to Mexico. THE MOST IRONY EVER: he complains a word she plays is archaic; such a perfect line for a man dominating an archaic society! On the shelf as she fetches a dictionary, she notices one for Latin, too (“knower of Latin, scratcher of words“). Once the game is finished they make a date again for after the next ceremony. And Offred does her best to try manipulating Waterford with that bittersweet element which at once gives her power and holds her down in Gilead: femininity.
Probably my favourite episode of the series so far! On top of that, Hulu renewed it for another season. How damn good can it get? Love so much about this episode, but as usual I’m excited for the next one. “Faithful” is next week; I wonder how much deeper we’ll go into the devastating patriarchal nightmare that is the reality for these poor handmaids.
Offred (Elisabeth Moss) hears about what happened to Ofglen (Alexis Bledel). She was taken in a black van. Whisked away. She was a “member of the Resistance” and those are CHOICE WORDS for 2017. “I didn‘t even know her name,” Offred a.k.a June laments. Now the girl is gone. Disappeared in some cell, in an unknown place.
Offred tries comforting Janine, who slips further into a bad mental state. She starts thinking she is free, that she can do what she wants because of her ability to conceive. Fine to think she can eat lots of ice cream. Not fine if she pushes it too far in that militarised zone. I hate to think what may happen to Janine. I truly worry, especially since she believes her Commander is in love.
Offred’s discovered she isn’t pregnant after all. Therefore, no more special treatment, and more of that skin crawling sex with Commander Waterford (Joseph Fiennes), held down by Serena as she watches on. Yuck. And once the infertile Mrs. Waterford hears the news, it’s not pleasant. At all. Fucking horrifying, actually. The woman is mad, driven mad by her complicity in the whole debacle. Then she tells Offred: “Things can get much worse for you.” Something that’s actually hard to imagine at this point.
We see that Ofglen’s been brought to a stark white facility. She finds there’s been a procedure done on her while she was unconscious. Aunt Lydia reveals her real name: Emily. She says things will be easier for the girl now. “You won‘t want what you cannot have,” Lydia tells her. Oh, man. Harsh. Like an Atwood vision of body horror.
This was maybe my favourite episode. It gave us a window into before the fall, as well as other horrors in the new world of the authoritarian patriarchy. I can’t wait for the next episode. Very glad to have had the opportunity to preview these before the premiere!
Offred (Elisabeth Moss) tries to escape the breeding rape of Commander Waterford (Joseph Fiennes), held down by his wife Serena Joy (Yvonne Strahovski). The sex is not just a visceral sexual assault. It is symbolic of women like Serena who’ve been complicit with the patriarchy, holding other women down figuratively, literally, in every kind of way. A brilliantly disturbing metaphor.
Not entirely sure what Nick (Max Minghella) is doing, if he’s a force of good or another arm of the male authority. He seems to like Offred, but again it could be less than valiant. He’s not exactly a Commander, a higher-up. He is the proletariat, a worker. He relays to Offred that Commander Waterford has called to see her. She’s ushered into the birthmobile by Rita (Amanda Brugel); the thing is like a hearse, which is brutally ironic. At once, life and death touches. They are, in fact, living death.
Janine is still seen as useful. She has to breastfeed the child before she’ll be torn away once more. She sings Bob Marley to her daughter. That intimate connection between mother and child is too strong a bond to simply break with one snap. There’ll be more trouble with this concept as the episodes progress.
This adapted series from Margaret Atwood’s blistering novel begins with a car being chased down a road, police close behind. Offred (Elisabeth Moss) sits in the back with Hannah (Jordana Blake) next to her; Luke (O-T Fagbenle) drives, fast as he can. Soon they’re stuck in a ditch and they have to get out and run. They go quick in desperation, their destination supposedly not far off. Gunshots blast in the distance, so Offred picks her child up and runs. After some time they hide, but men with guns lurk too close for comfort. They eventually leave.
Offred: “A handmaid wouldn‘t get far. It‘s those other escapes, the ones you can open in yourself given a cutting edge, or a twisted sheet and a chandelier.”
Ceremony Day is coming up, so this means Offred must be washed, cleaned to the utmost care. Like a “prized pig.” At the same time, it’s hard for her to forget life before the state and its tyranny. She longs for her daughter, hoping that she won’t be forgotten. It’s a brutally real emotion and Moss quietly portrays it with great nuance.
What an episode! Wow. I’m more than impressed, and satisfied as a fan of the novel. I’m excited for the next episode. Been grateful to get to see the first few episodes before the premiere.
Here we are: the final episode of The Path‘s Season 2! What a ride it’s been, I do hope that we’re getting another season. But first, let’s see where this one ends.
The Meyerists continue trying to move past Richard’s death, the fire. They all lay cacti and plants at the site, a sort of ceremony. Meanwhile, Hank and Gab (Peter Friedman/Deirdre O’Connell) wonder how things will continue, as Bill and a reluctant though present Felicia (Brian Stokes Mitchell/Adriane Lenox) assure them – Cal is “good for the movement.” Right. The fearless leader’s too busy licking his wounds over Sarah that it’s a wonder he can concentrate at all. Between that and having a lovechild with Mary, one everyone’s gossiping about behind their backs.
At the centre, Hawk gets an envelope from his mother reading DO SOMETHING WITH IT – the results from the Clarkesville water tests. Hmm. There’s something bigger, more major coming with that whole plotline. I’m just curious to see where Hawk takes it, and whether it changes him.
Speaking of her, she’s out experiencing the world, dinner at a friend’s place. Then comes the questions of where she came from. Why nobody can Google her. So on. Sarah gets paranoid, so she and her daughter sneak out the bathroom window and run. They head to their house, grab a few things, and they take off. An intense scene, with a pounding score.
I LOVED THIS FINALE! Even better than the Season 1 finale, as well. Spectacular work, especially now as we sit on the edge, waiting to see how Cal moves forward – no doubt treachery and violence are on his path – and how Eddie handles the movement, plus I can’t wait to see what Sarah chooses as her own personal way forward.
In the woods, Mary Cox (Emma Greenwell) finds herself lost after fleeing the car with Sean (Paul James), his mother, and the cult deprogrammer. Now she can’t find her way through the darkness, calling for Cal (Hugh Dancy), for anyone to come get her. Then she gets pains in her stomach, her baby could possibly be in danger.
What an intense episode! WOW. Richard sacrificed himself to something greater, for real. No Ladder, no Light. He sacrificed himself, and now where does the movement go from here? Likewise, does this put a wrench into the works for Abe or does he already have enough information to bury Sarah, Cal, and the entire cult? We’ll see.
Hawk (Kyle Allen) is in one of those same rooms where his father Eddie (Aaron Paul) sat, staring into the Meyerist eye, repenting for sins. Or whatever. A lot of pain in him. On the outside, Cal (Hugh Dancy) and Sarah (Michelle Monaghan) are basking in the success of their latest talk. Although she’s having a tough time, with family. But Cal says he’s “all in” for their new life, their relationship. Except Eddie’s there to confront him over what he discovered about them. He also shows off the charm Steve (Keir Dullea) gave him, making clear both their leader and Sarah chose him; not Cal. Whoa.
Sarah (Michelle Monaghan) wakes in her hotel room, alone. She and Cal (Hugh Dancy) spent a passionate night together. But what’s next in that regard? Do they empower one another to keep being awful? Well, she’s having a dream right now. She sees Marshall the farmer down at the buffet, where she starts pounding down bacon before almost choking.
Everybody’s painting tiny coffins. They put their sins inside, to “relinquish” them, or y’know, whatever the hell they believe. Hank relinquishes the Denier Policy. Nicole relinquishes Sam Field a.k.a Abe. So basically, it’s a type of confession, in aid of their own souls. To cleanse themselves. To lie to themselves about their guilt, their mistakes.
The unburdening tapes are being used now with more force by Sarah Lane (Michelle Monaghan). She goes to one person, then the next, the next. Using the dirty little secrets of everybody against them. Such a creepy sequence. Reminds me of something you’d see from Scientologists, blackmailing people to stay, or else their “fragile house of lies” come toppling down. Clearly Sarah knows she’s doing awful things, yet she is so tied to Meyerism she has no identity otherwise. So, she’ll fight dirty to save what she loves.
Eddie meets with Richard (Clark Middleton) and Felicia (Adriane Lenox) in a hotel. To talk about what’s next for Meyerism. She doesn’t totally believe what’s happening, in regards to Eddie as Steve’s choice to lead them forward. The only way she’ll accept it? He must “continue the climb” to 8R.
Last we saw Eddie (Aaron Paul), he was swept off violently by Richard (Clark Middleton) and Kodiak (James Remar), leaving Chloe’s (Leven Rambin) boy in the wind. The two men want answers from their captive, about what happened with Dr. Steven Meyers (Keir Dullea). They need to know, because of the implications in his death.
Things elsewhere are sketchy, as Chloe tries to deal with her son being left on his own, and Eddie’s sudden disappearance. Meanwhile, he’s struggling with the drugs he’s been given by Kodiak and Richard. He’s being taken back through his memories – seems he had a mean, violent father, on top of the memories of his brother Johnny, and more. The two Meyerists holding him captive try to lead him through to memories of Peru, up on the mountain with Steve. Until Eddie stops breathing.
So, in lieu of other money, Sarah’s already out putting more blackmail into motion. Becoming a worse person all the time, in order to save their dying movement.
I didn’t really expect the stuff between Eddie and Richard at the end of the episode. Neither did I see the Steve revelation concerning Cal coming, whatsoever. Truly rocked me.
Eddie (Aaron Paul) drives with his daughter Summer (Aimee Laurence) singing, laughing. Everything is lovely. Until she isn’t in the car anymore. She’s outside, on a nearby bank. He pulls over, yelling out to her. When he goes towards his daughter she runs, then she’s gone. An old house looms in the distance. At the fore is a ragged-looking tree. He approaches the house, opens its door.
Kodiak (James Remar) watches Eddie. He chants a mantra to himself: “Give me your patience, your strength, righteous and good.” Then as Eddie heads out with Chloe’s boy, he’s followed not far behind by the close friend of Dr. Steve Meyers.
Sean walks along a lonely road where his parents pull up. They’ve found him, and want to take him away. They’ve got a cult de-programmer wanting to help. Also to help Mary, so they can have a normal life, and so his parents can see their grandchild sensibly. He’s clearly distraught. Still, they take him off from his current existence.
In that shack – we realise now the one Eddie saw in his dream – Richard and Kodiak start to enact the next step of their plan, as Chloe’s boy is left at the roadside all alone. Spooky end to this episode.
What a troubling finish! Lord. I can’t wait for the next one. Interested to see what Richard and Kodiak are going to do, as well as what revelations will come from their methods. Seems to me Eddie definitely has deep, deep secrets.
We begin with Sarah Lane (Michelle Monaghan) taking part in a purifying ritual, of sorts. She sits by a fire, smokes from a Native American-style pipe. Her guilt. The face of a dead and rotting Silas. That poisoned cow. Images flash through her mind. She and Eddie (Aaron Paul) making love; the strange scar on his back. Everything passes like flipping through photographs.
Oh, poor Cal Roberts (Hugh Dancy). Always something to plague him. Whether it’s a past due notice from the IRS, a murder he committed, a secret baby – there’s forever a burden on his shoulders; self-inflicted or otherwise. Soon enough Hawk arrives and finds that Cal’s trying to play dad, hampering his need to get into the city.
What will happen next? This was an excellent episode, once more. Some say this second season isn’t holding up, and I have no idea what they’re talking about! Crazy, man. This is a great follow-up to the first season. Many mysteries left unsolved.
Cal Roberts (Hugh Dancy) gives a speech to a crowd, more of the Meyerism Kool-Aid. Next to him stands Sarah Lane (Michelle Monaghan), playing her role. Then in the wings are Richard (Clark Middleton) and Kodiak (James Remar) still try getting to the bottom of Dr. Steve Meyers’ (Keir Dullea) death.
Life outside the cult is wildly different for Eddie. He’s back to eating all the things he did once. Living away from a commune. Taking pills to help his mind rather than burrowing himself into a useless ideology. But things are much worse for Sarah, as she’s called to a house where Hawk (Kyle Allen) is being hauled away by the police on a warrant for his arrest. Hmm. I smell Libby Dekaan (Molly Price) behind this one. Did the scientist testing the water give something up? Either way, young Hawk is in the clink.
Wow. That’s one of the more intense episodes and final moments of any yet on The Path. Very interested to see where all the threads lead from here. Many possibilities, none of them anything other than grim.
Last we saw Eddie Lane (Aaron Paul) he got punched out poolside while drinking with old friend and possible new flame Chloe Jones (Leven Rambin). He was then carted into the ER having a bad reaction to the booze. Will he be okay? Is it a physical reaction, or a more emotional one?
Things get trickier for Lisa, too. She’s been summoned to the compound, and this frightens her. So she goes to Abe Gaines (Rockmond Dunbar) and the authorities. But none of it’s easy, not for Lisa, not for Abe and the law. The higher-ups want the Meyerists taken care of, soon. Yet Gaines worries Cal will manipulate Lisa. Still no telling how Abe’s undercover work is going to go in the end, we might see something nasty happen. Right now they’ve got Lisa with a recording device, heading into the meeting willingly. Uh oh. Even Abe doesn’t look too sure about any of it.
The day of Lisa’s visit to the commune comes. Before Cal can go meet her, Kodiak hauls him aside; he’s found a rabbit eating his strawberries. He asks Cal about the “weight of leadership” on his shoulders. Or does he see the weight of something else, and this is his way to get under the new leader’s skin? Oh, I think he’s a tricky one, that Kodiak.
