Tagged Juliet Rylance

American Gothic – Episode 13: “Whistler’s Mother”

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
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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?
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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.

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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.”

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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!

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American Gothic – Episode 12: “Madame X”

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
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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.
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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.

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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 Hillarys emails, or Trumps 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 Im 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…
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The detectives have Garrett trying to identify SBK, except nothing comes out. All of a sudden, Brady wonders if maybe the Brigid’s cross was meant for more than the symbol; maybe it was for a name. When they track down a name, Garrett finally recognises the man himself, the dreaded Silver Bells.
Turns out Naomi may be more important than anyone thought. She’s the daughter of the Silver Bells Killer, having reinvented herself to slip inside the inner circle of the Hawthorne family. A place where she could destroy them easily.

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WHOA! Nice little shock at the end.
The finale is titled “Whistler’s Mother” and I can’t wait to dig in.

American Gothic – Episode 9: “The Oxbow”

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
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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.”
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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 yourselfIm 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.


Slide back to 2008. Al tells Garrett about losing a niece, as they bond over family members to which they were close; Garrett talks about his sister Tess (Megan Ketch) and how they were the closest of all the family. Speaking of Tess, she is certainly not convinced about her brother, either. She keeps telling her husband there must be some other explanation. However, Brady does not get her “loyalty” to a guy like Garrett. He suggests confronting her brother, seeing if he’ll confess or deny it to her face.
It’s on!
The painting from which the episode gets its name is all about the confrontation between wilderness and civilisation. We see that represented totally through Garrett. As the years pass, he stays in the woods, away from civilisation. Away from his family. He peeks in occasionally. He buys a newspaper to read Cam’s cartoon Roger’s Cube. There’s part of him that doesn’t want to let go. He gets his number to Tess without being seen, so they can get in touch: “If you need it,” Garrett lets her know. Their bond is so obviously a deep one, a caring one. Great scenes between those two.
When Tess goes to see him in jail things have changed. At least a little. Garrett’s mostly only concerned with his possible niece or nephew coming along. He doesn’t want anybody worrying about him. Tess asks him point blank about the knife. Her brother won’t answer what she needs to hear, casually suggesting his guilt. The change in their relationship is becoming more of a divide. Everyone’s opinion of Garrett has gone 180 degrees.
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Jennifer’s been tracking the mayor. He meets with Detective Linda Cutter (Deirdre Lovejoy) in secret. What exactly are they doing?
We see more of creepy little Jack (Gabriel Bateman) visiting his uncle, being weird. Talking about the bubonic plague and other happy things. He mentions seeing Christina (Catalina Sandino Moreno) at the hospital near the ultrasound department; Garrett tries calling her, but no luck in talking much. Then he calls his lawyer, desperate to get out of jail: he’s going to be a dad.
There are big things happening in the Silver Bells case. Mainly the police department is getting their ass kicked by Garrett’s lawyer. She starts bringing up chain of custody, mishandling evidence. Might not be long before Garrett does see the light of day.
Switch back to ’08. Garrett finds Al in pain on the floor, his heart aching. He’s writhing in agony. “This is it,” he says. Death is coming for him. So Al begs his friend: “Help me die.” Of course Garrett refuses. The begging becomes desperate until finally he agrees to help Al along the way. He holds a pillow over the man’s face and eases him into the afterlife.
Seeing this, can we actually now say that Garrett was an accomplice to murder? Definitely not in the first hand sense. He could barely help a dying man go ahead and die. There’s reason to suspect he may not be a killer whatsoever.
Then 2016 rolls around, and Garrett heads back to the city when his father’s ready to die. Present day, he sits behind the walls of prison. On the television he watches Jennifer Windham reporting on the Silver Bells Killer. Someone holds her hostage, making her read a note claiming himself as the true accomplice.

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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.
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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.

American Gothic – Episode 5: “The Artist in His Museum”

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
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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 cant 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.
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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.

 


In Cam’s latest nightmare, his own son Jack (Gabriel Bateman) sits with his false teeth doll reciting Robert Burns’ poem “Comin’ Thro’ the Rye” in eerie fashion, as Mitchell wanders around in other parts. The poor guy cannot catch a mental break. He later sees Mitch pulling a body down a spiral staircase, mumbling. Real creepy stuff.
Out at Lila’s trailer her daughter waits. Then the waitress comes flying home, drunk as hell. She nearly knocks the trailer over and tears up her own garden. Hammered. I guess most of that money Madeline is giving her goes to booze.
Detective Cutter keeps pressing, overstepping the boundaries by questioning Jack when nobody’s around. There’s definitely a bigger confrontation brewing there. Especially now with young Jack being brought into the mix. Tess decides it’s time to “end this” and wants to have the DNA finally tested.
Garrett hears Cam talking in his sleep. He needs to know more, though Cam is in the throes of an awful detox. So the older brother ties his younger brother up and heads out for a bit. He goes to see Christina to try and get some help.
We find out more about Madeline’s “arrangement” with her mother Lila. They’ve agreed, because of Mitchell, that she stay away from her grandchildren. Lila sees it as control. She mentions someone named Caleb, perhaps a previous husband or a boyfriend, somebody close. But Madeline says it was all her idea to keep Lila away. To protect her children from the dysfunction of her own mother. “People change,” Lila says between tears. “But you dont,” replies Madison. The relationship seems irreparable.

 


Cam is sweating it out, as his siblings try to rally around him. Lost in a dream he’s walked, hand in hand, by his father down the staircase, the body being dragged nearby. “Was it me, Cam?” Garrett asks, then Mitch asks, then Cam himself asks.
There’s a nasty secret buried somewhere deep down there. Wonder if it’ll work its way out.
Later, the brothers chat again. Garrett pokes around for more info. Cam says he’s had those images and thoughts in his head since his teenage years. He tells his brother about the body being dragged. He worries there’s more to the Silver Bells, the repressed memories he’s got floating around in his mind. But Garrett does his best to keep those memories repressed. Awhile later, Cam starts inspecting the staircase looking for clues of what happened on that staircase in his dreams, or if it’s all just smoke.
Brady tells Tess that it urns out Cam is not a match to the DNA.
However, there’s a familial match. The blood on that belt is still from a Hawthorne; the Silver Bells Killer.
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Fun episode. Again, not perfect. But I dig it enough to keep watching. Next episode is titled “The Chess Players” and is named after a painting by American artist Thomas Eakins.

American Gothic – Episode 4: “Christina’s World”

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
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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.
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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.


There’s a bit more trouble brewing on Cam’s front. His equally junkie wife has racked up a $4K drug debt with her tough-looking dealer, who happens to come poking around while she isn’t home. Cam gets a good punch in the face and a warning to pass on. And down at the station Cam’s family is getting bitched about by their neighbour, the owner of Caramel the cat. Will the macabre interests of young Jack bring more scrutiny on the Hawthornes? I’m just waiting for that to happen. In the meantime, Dt. Linda Cutter (Deirdre Lovejoy) thinks it’s possible Gunther just may be innocent.
Then who IS the Silver Bells Killer? We knew it couldn’t be as easy as the gardener, nor Colonel Mustard in the library.
Tom and Alison are busy trying to work their magic. They find some interesting little bits of information against Mayor Bill Conley (Enrico Colantoni). The sort of info they can use to get rid of their lawsuit problem.
Over at the Hawthorne mansion, Tess and her mother talk about life. Tess isn’t so sure about having a child anymore, not with Brady. At least things have changed for the moment. Getting pulled into the family is not a good thing, especially seeing as how there’s some ugly secret lurking in the background of the Hawthorne family. For her part, Madeline doesn’t totally go against Brady, but there isn’t anything righteous about her. Not truthfully so, anyway. She is a snake and I can only imagine what it is she’s sheltering from the world.


Finally, we find Garrett (Antony Starr) again, sitting in a bar. He’s watching the nurse again – Christina Morales (Catalina Sandino Moreno). Instead of being inconspicuous, she easily finds him out. They talk a bit, flirt around one another slightly. He’s still a complete enigma to most. What is most interesting comes when Garrett finds out she believes her father’s killer – Silver Bells – has been found, he’s dead. But the look in Garrett’s eyes, man… it speaks louder than any words in his vocabulary could manage. There is something else he knows. Nevertheless, it doesn’t stop him from getting close to her. I just feel there’s going to be no good come of it, as Garrett is also hiding something.
Dts. Cutter and Ross figure out that Gunther could not have been the Silver Bells Killer. Not only was he laid up in a body cast during one of the murders, he was also ill, only a few weeks left to live. Cutter starts wondering if Gunther took the fall for somebody. Or maybe it’s the fact he knew of SBK’s identity and didn’t tell anyone that weighed him down full of guilt.
Big brother Garrett does his younger brother Cam a solid and asks Madeline for $4K. Hmm. Will Garrett use this as some kind of leverage over Cam later? Nah, he just hands it directly over to him in front of his mother telling him: “Be smart.” In other family news, Tess and Brady make up, which is a surprise to her husband. Even better they’re planning on having lots of sex. Y’know, for baby making purposes. And for good old fashioned fun.
The relationship between Garrett and Christina deepens. They picnic together, getting to know each other better. Yet each time Garrett hears her talk about her father, his eyes change and he makes comments about the killer likely not realising the “collateral damage” of the deaths he caused. Jesus. I’m just waiting for more of that backstory to drop. Did Garrett witness a kill? Did he find out about someone in the family doing some killing? Or maybe he did it. We’ll have to keep on waiting/sweating it out.


Mayor Conley and Alison take a run at their mutual opponent. Although the woman is not at all willing to work with them. Until they’ve got some video evidence of her breaking probation on a DUI charge. Ahh, this puts a chip in the lady’s plan. However, she still gets $1-million. With stipulations. The lawsuit has to be dropped, as well as Alison and Conley being pumped up on live television as real do-gooders.
At the same time, Madeline gets an odd note in the mail. It tells her COME SEE ME OR I’LL COME SEE YOU.
Cutter finds problems with the DNA that Brady brought in, supposedly from his wife. Turns out the DNA is from a Hispanic woman. Everything is spinning slightly out of control for ole Dt. Ross. He worries about Tess and what her family is involved in, what she may be involved in, whether directly or not. When he confronts Tess, he discovers that she planted the hair. A test for him, she says. The fire’s been lit under Brady and he is out for blood. He’ll figure out SBK, one way or another. Or die trying.
And Cam, he goes to meet Sophie’s dealer to give him the money owed. But the dealer says they’ve settled up. Not with any cash. She banged her dealer to pay off the debt, and that really bothers her husband. Worst of all, Cam is now beginning to figure out he and his wife are causing their son plenty of grief, likely why he’s completely messed up.
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Garrett goes to see Christina at her place, bottle of wine in hand. They spend a nice romantic evening together. Until the ghostly look on his face gives way to him taking off his shirt, undoing his belt, and brandishing it, the look in his eyes spelling murder.
Could this be what we’re seeing? Is Garrett the Silver Bells Killer, or is this him hoping to clean up a loose end and keep his family out from under scrutiny? Very, very hard to tell. Amazing ending.
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Loved this episode. The mini-series isn’t perfect, nor do I expect that. But it is enjoyable, it has enough edge to be fun. The next episode is titled “The Artist in His Museum” and I hope to find more secrets bulging from the seams.

The Knick – Season 1, Episode 6: “Start Calling Me Dad”

Cinemax’s The Knick
Season 1, Episode 6: “Start Calling Me Dad”
Directed by Steven Soderbergh
Written by Jack Amiel & Michael Begler

* For a review of the previous episode, “They Capture the Heat” – click here
* For a review of the next episode, “Get the Rope” – click here
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This episode begins, again, with a ringing phone. Now, it is at the Chickering household and the call comes for Dr. Bertie Chickering (Michael Angarano). At a very early hour. Just so happens it’s Dr. John Thackery (Clive Owen). But then Dr. Bertram Chickering Sr (Reg Rogers) isn’t too pleased with the early calls. Even less impressed with Thackery and his early morning experiments.
When Bertie gets to the lab, there are naked Asian women sitting with Thack. They’ve been there a couple days straight: “We took a few small breaks,” John says with a saucy, sly grin. He has lots to show Bertie, hoping to improve on the placental problems they’d encountered when Dr. Christiansen was still around. The plan, says Thack, is to put pressure on the wound while performing a Cesarean inside the wound, rather than outside. Watching these innovations on the part of Thackery is amazing, almost like witnessing a piece of history. The excited way in which Clive Owen delivers these lines shows us both Thack’s own happiness to push forward into the future of medicine, as well as his raging cocaine addiction. Furthermore, the way he employs the prostitutes to help with his new experiments is sort of hilarious, especially the way he reels Bertie in to the entire thing. Well written opener to the sixth episode of The Knick‘s Season 1.


In less exciting and sadder news, Dr. Everett Gallinger (Eric Johnson) and his wife Eleanor (Maya Kazan) are all but watching their child perish from meningitis. She is upset that Everett “brought this into our house” while he is devastated. Sister Harriet (Cara Seymour) tries to tell Eleanor there isn’t much to be done, at all. Though, Everett mentions a slim chance bloodletting procedure, and the mother wants anything, everything to be done in order to try saving their child.
Inspector Speight (David Fierro) and Cornelia Robertson (Juliet Rylance) are still trying to figure out the typhoid outbreak. He has a fairly well connected map of the disease spreading around New York City, so they’re merely trying to discover the link: ice cream. Or “whats in the ice cream“. Turns out a woman named Mary Mallon (Melissa McMeekin) made all the ice cream which got everyone sick; Typhoid Mary.
Meanwhile, Herman Barrow (Jeremy Bobb) is trying to acquire an x-ray machine that doesn’t cost $3,000. The salesman of a second hand unit introduces Herman to the machine and takes an x-ray for him. “This should take about an hour,” the man tells him. Incredible how advanced we’ve become since.


Dr. Algernon Edwards (André Holland) and Cornelia sit together for a talk. He seems pensive, perhaps depressed. His life at The Knickerbocker Hospital isn’t what it promised to be at the start. Here, we get insight into the young life of Algie, as an almost additional member of the Robertson clan, having played with Cornelia and her brother Henry as children. We can tell there is more to the relationship between Algernon and Cornelia, so it’ll be interesting to watch more of that come out as the season progresses.
Abby (Jennifer Ferrin) and her syphilis treatment is coming along. The poor thing is strapped constantly into a contraption which keeps her arm over her head, the skin from her inner bicep stitched to her nose. “Its always looks like rain,” Abby tells John, “if you only look at the clouds.” Her spirits are high, though, it’s probably only because of having to deal with her illness so long. She has become accustomed to it, sadly.
Then there’s Thackery dealing with the greasy salesman, Luff (Tom Papa) who hawked a second hand x-ray machine off on Barrow. He comes in with a liniment oil already emblazoned with Dr. Thackery’s face, ready to sell. Essentially, Luff is only concerned with his share of the “booming market” in medicine. He even talks about Dr. Pepper, whose “brain tonic is doing so well they’re serving it at fountains all around the city; as much a beverage as it is a remedy.” John doesn’t have much time for it, shooing Luff out and calling him a “moldy rogue”. Already in 1900, the vultures of capitalism are peeking their heads out and trying to make money from whatever they can in the burgeoning field.


Bertie is taking Nurse Lucy Elkins (Eve Hewson) out on a date. They have a pretzel and walk together, enjoying one another’s company. Smiling, talking. A new relationship is beginning here, but will the small looks between Lucy and Thackery become anything? Will that further cause tension between John and Bertie? Either way, for now Bertie clearly likes being with Lucy, and she seems to, as well.
In an African-American bar, Algernon is having a drink. His eyes are dangerous and his face looks almost vacant. The bartender talks about “the Big Nig“, someone to whom Algernon should not go looking for a fight. He does, though. And afterwards we watch him ice down his side, clearly after having gone for a fight with the man. Glad we didn’t get another scene of Edwards fighting, but that it’s merely alluded to heavily. Nice editing in this particular scene.
More sadness now, as the Gallingers finally lose their child to meningitis. Eleanor is apparently lost in her own mind, not thinking straight. She can’t accept the death of their daughter. Sister Harriet and Everett are both equally concerned. Of course, “the powerful wave of melancholia” is coming, and Harriet suggest perhaps they ought to adopt a baby that was left on the church steps recently. A way to get through things. Everett’s left to consider whether or not they ought to take the child in.
Such a juxtaposition to see Tom Cleary (Chris Sullivan) waiting outside for Harriet: “Weve got work to do,” he says. She goes from caring for children to abortion so quickly. Not that I have any issue with it, just an interesting parallel.
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Inspector Speight and Cornelia finally track down Typhoid Mary. She is at a new home serving ice cream again. Once the news of her typhoid is let out, everybody at the table eating drops their spoons, afraid they might contract her nastiness. Awesome little scene where Mary tries to run away and then Cornelia tackles her – “Definitely a new century,” Speight laughs remarking he’d “never seen a society girl join a fracas that quick.” This part had me laughing, in the best sort of way. Cornelia is a tough cookie.
At The Knick, another pregnant patient comes in and Thack gets himself ready by shooting up a good dose of cocaine. Bertie is along for the ride, once more. “Are you sure we’re ready?” he asks Thack. But John is all ready, he wants to go and figure things out. He wants to move forward and try getting the procedure right, on the table, in the operating theatre. No more experiments. So they used their new contraption to enter the vaginal canal and attempt to succeed where they’ve only managed to fail until now. Thack cuts into the stomach and forges on. Their new technique helps to slow the bleeding, allowing the successful delivery of the baby. The placental repair is named after all three men who influenced its development: Christiansen-Thackery-Chickering. A new step into the modern world of medicine and childbirth.
Late at night, Thack is working. He hears something downstairs and eventually comes upon the makeshift black emergency room which Algernon has been running. John wants them all out, so the gig is up. So it seems. This could be bad for Edwards, as well as the patients he will no longer get to service. He shows Thackery the extent of the little clinic, what he’s been doing down there with limited resources and under the virtual cover of darkness: “Are you out of your fucking mind?” John asks sternly. Things change slightly when Thack sees the blood pump Edwards made out of a vacuum cleaner: “Thats not the only thing Ive come up with down here,” Algie assures before introducing his solution for the inguinal hernia. John agrees not to say anything for now, as long as the door stays locked and nobody else wanders in. Even better, Algernon’s hernia treatment is heading for the big time and tenuous agreement is struck between the two doctors: “Dr. Edwards,” begins Thackery, “may I officially welcome you to The Knick?”


Cornelia is being readied to marry Phillip Showalter (Tom Lipinski). He believes she’ll be a perfect little housewife instead of continuing on with any business after their marriage. A tense, sort of creepy scene sees Phillip’s father Hobart Showalter (Gary Simpson) confront Cornelia in her room, as she happens to be undressing for the day. The name of the episode comes from these moments. He’s got lots of ideas about what needs to happen after Cornelia is hitched to Phillip. It is an unsettling and nervous scene, but sets the tone for Cornelia’s further relationship with Hobart and the Showalter clan. You could feel something more almost breaking through, and yet the episode finishes her on a strange, awkward note. Very interested to see where it all goes from here.


The next episode is titled “Get the Rope”. Stay tuned with me for another go round.

The Knick – Season 1, Episode 3: “The Busy Flea”

Cinemax’s The Knick
Season 1, Episode 3: “The Busy Flea”
Directed by Steven Soderbergh
Written by Jack Amiel & Michael Begler

* For a review of the previous episode, “Mr. Paris Shoes” – click here
* For a review of the next episode, “Where’s the Dignity?” – click here
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After an intense and wonderful second episode “Mr. Paris Shoes”, the third episode of Cinemax’s The Knick sees an old, familiar face to Dr. John Thackery (Clive Owen) come to visit at The Knickerbocker Hospital. It’s a woman named Abigail Alford (Jennifer Ferrin). She’s a friend of John. On her face, she wears a fake nose with her tiny blue glasses. The savagery of syphilis. “No one handles the unexpected like John Thackery,” she says. “Its where I live,” replies John.
They were together once upon a time. Turns out, he’s always been a bit of a wild card. Abby tells him: “I could never get used to what you called normal.” There’s a tender scene where John takes her fake nose off, revealing the missing one from her face where a gaping wound sits. Abby’s husband and John are the only two men she has ever been with, but her husband was less than faithful. Such a sad state of affairs, to see a woman cheated on, but worse – cheated on and then given a terrible disease, one which at this point in 1900 was yet to be properly dealt with (penicillin did those old effects in after 1928). Rotten. Glad to see Thackery is still a friend after all their history, and further, a doctor who’s willing to try and help her with everything he can possibly do.
I love that their relationship is evident, but not through a total barrage of exposition. Just goes to show the writing in this series is quality. Courtesy of Jack Amiel & Michael Begler, a fantastic team alongside Steven Soderbergh and his fascinating filming techniques.


Out with his tooth missing, Herman ends up not getting a corpse for Thackery. We’ll see how that plays out for him. Back at the hospital, Herman’s wife Effie (Molly Price) arrives for a little meeting. They don’t seem to have much of relationship. Clearly, Herman is a crook, he keeps her in fine clothing. However, she appears to be always looking for money. So is Herman doing what he does just to fund her activities, or is it that Herman puts himself out there as a man on the town with all kinds of cash? I think he overextends himself. Not to put all the blame on him, but when Effie asks about earring of hers that went missing it’s clear Herman is pinching any penny, anywhere, just to live a lifestyle that he wants.
In the basement of The Knick, Dr. Algernon Edwards (André Holland) is doing his best to secure everything for his undercover operations. He’s bringing in any of the other black employees at the hospital, regardless of where they happen to work there, from the young men shoveling coal in the furnace, to a laundry woman who finds herself promoted to “surgical nurse“.
Sneaking about the morgue we find Herman take the tag off a body, labeled as a patient of Dr. Everett Gallinger (Eric Johnson). Is this the body he’ll give over to Thackery? Later on, Herman comes up with the money for Bunky Collier (Danny Hoch). For now he’s off the hook.


Thackery is busy working on pigs. Across town, Herman is being a pig, obviously not interested in being home with his wife, so there he is with a young prostitute being tended to in bed. So, not only is Barrow funding his wife for every possible thing, he’s also promising all sorts of things to this young lady. Wow. I knew he was greasy, but here’s Herman getting greasier than ever. The name of this episode comes from the act the prostitute does for him, as he jacks off. So strange.
But back to the basement of The Knick. A young black man leads a slightly older black gentleman down to the makeshift operation Dr. Edwards has going. There’s even a sort of reception. In the operating theatre, we might call it, Algernon has a patient on his table and dictates his entire surgery to a girl taking notes. The older laundress from earlier is next to the doctor, ready to stitch things up wherever and whenever needed. Dig this so much, to see Dr. Edwards do everything in his power to help his people in a time when nobody else will.
Everett is a troubled man. At home, his wife Eleanor (Maya Kazan) sort of wastes away. He isn’t exactly neglectful, though, I don’t get the feeling he’s a family man other than in appearance. The child cries upstairs, off goes Eleanor.
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Cornelia (Juliet Rylance) sits at home, listening to her father Captain August Robertson (Grainger Hines) go on and on. We find out Algernon’s parents work for the Robertsons – his father Jesse (Leon Addison Brown) drives carriage for them, Mrs. Edwards (La Tonya Borsay) serves them dinner and takes care of the house. August seems semi-genuine in his care for Algernon, wanting things to get along well at The Knick. But at the same time, I feel August is mostly a capitalist, so as far as Dr. Edwards is useful to him (re: profit), I’d bet that’s about as far as August is interested. We’ll see how all that goes. Even more, there’s talk of typhoid again. Possibly “the beginning of an epidemic“, as August hopes it’s not.
Thack is busy sawing up pigs when Cornelia visits him. She wants to smooth things out for Algernon, even if the man wants to tend to business himself. She cares, it’s very clear. Although, she wants to talk with Thackery about the possible start of a typhoid outbreak. The doctor suggests getting in touch with Inspector Speight (David Fierro). When he arrives on the scene Speight doesn’t care about “upsetting the apple cart” because, basically, that’s his entire job anyways. There is definitely interest in the case on his part, as well as the fact Cornelia wants to get digging on this whole thing. Interesting pair, these two.


Drs. Bertie Chickering (Michael Angarano) and Gallinger head to see Thackery. It’s very apparent Everett is a racist. Algernon is a co-author on the paper they ransacked another hospital to find, concerning their upcoming surgery. John is pleased, really, but most of all wants to get back to his “preparations” – a.k.a shooting up cocaine. Only there’s more and more trouble finding a vein: “Hello,” he says after locating one: “Welcome back.”
Called to his basement office Algernon receives the hernia patient he advised to rest. But the man didn’t listen, now his hernia is burst and paining bad. The resulting operation is a mess. Algernon can’t quite get a handle on things, using the amateurs around him to do his best. But blood is pumping, thread is running out. Nothing happens the way it ought to, naturally. Unfortunately the patient dies and it’s clear Edwards takes the entire thing to heart. Even sadder, they have to discard the body in the bushes somewhere, to let somebody find him. Brutal.
Dr. Thackery tries his best to do a procedure for Abby. An old one where they used skin from the arm to graft onto the face, keeping the patient’s arm raised and next to the head. John is clearly upset, he wants better for Abby believing that “shell always be alone“. There is still a flame which burns in him for her. In other news, John does all he can for the friends of Cornelia who came in with typhoid; though a raging addict, he obviously has a true heart beneath it all. Somewhere deep inside is a pain that can’t be quelled.


At the end of the episode, Algernon is steaming. He sits at an African-American bar listening to someone next to him talk up a lady, saying he’s been all over the world; mostly America. Edwards starts chirping him, even calls the man “a regular Rudyard Kipling” and picking a fight. Ole Mr. Paris Shoes ends up going fist to fist, in an amazingly filmed sequence. There are a few things I like about this whole bit. Algernon is lashing out, and not because of any other reason than his oppression. Right now, the only thing he can do and is let to be done well is fight. That’s all. Because surgery has all but been yanked from his hands, he’s stuck in the basement. So at a bar, out in the open, Algernon picks a fight and absolutely destroys this other guy. All to prove he is top of his game, in any way he can. He is competitive, only because the white man keeps making him have to be. Anything else and he’d end up dead.

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Excited to see more of this coming up. Next episode is titled “Where’s the Dignity?”. Stay tuned with me.