Diana can only be saved by Atticus and the others travelling back to Tulsa, but in 1921.
Lovecraft Country 1×09: “Rewind 1921”
Tagged Michael K. Williams
Lovecraft Country 1×07: “I Am.”
Aunt Hippolyta ain't in Kansas anymore!
Lovecraft Country 1×04: “A History of Violence”
Atticus is going to Boston to look for the stolen pages from the Book of Names that Titus locked in his vault.
Hap and Leonard – Season 2, Episode 6: “No Mo’ Mojo”
When Hap & Leonard think they've finally found BB's killer, another twist shocks them in the end.
Hap and Leonard – Season 2, Episode 5: “Pie a la Mojo”
Hap & Leonard work undercover at the carnival to try rooting out the killer. Before unexpectedly terrible things happen.
Hap and Leonard – Season 2, Episode 4: “Bad Mojo”
Hap & Leonard investigate the old church in Meemaw's picture, only to find more disturbing discoveries awaiting them.
Hap and Leonard – Season 2, Episode 3: “Holy Mojo”
Hap & Leonard continue searching for clues, as Leonard comes up against the local drug dealing menace Melton after he puts Ivan in danger.
Hap and Leonard – Season 2, Episode 2: “Ticking Mojo”
SundanceTV’s Hap and Leonard
Season 2, Episode 2: “Ticking Mojo”
Directed by Maurice Marable
Written by Abe Sylvia
* For a recap & review of the Season 2 premiere, “Mucho Mojo” – click here
* For a recap & review of the next episode, “Holy Mojo” – click here
Young Ivan (Olaniyan Thurmon) wakes in the bed at Leonard’s (Michael K. Williams) place, a bit disoriented and rightfully scared. Then he runs into the old man from the van. He chases the boy, but Ivan gets the jump on him. The old man finds something hidden in a vent on the wall, like an old lunchbox.
Ivan escapes then waits in the weeds for a chance to run. Only he can’t once a bag is thrown over his head and he’s whisked off.
Leonard’s in jail, of course. Fingered in a lineup by Melton (Sedale Threatt Jr), who got pissed on last time by Mr. Pine. He meets with his attorney Florida Grange (Tiffany Mack) and Hap (James Purefoy). Things don’t look great. They’re okay, for now. Except he’s got to ride out the weekend in jail. The police are also flooded with lots of black women, looking for their missing children, wanting to know more about the investigation. Heartbreaking and tragic.
Florida and Hap try to rally the mothers, all of them knowing the police aren’t doing anything for the missing kids. So it’s another case of Hap being placed in a position to help; both the community and his best friend Leonard. However, the mothers all reveal that Chester Pine came to them in a suspicious way, every last one remembering his name. Very troubling. We discover Chester put Florida through law school. Huh! Then again, as she notes: “That‘s what they do.” As in those who prey on children.
One of the officers interviews Leonard, along with a sac of oranges, a hammer, some books. Old torture techniques. In the meantime, Hap tries to get in to see his buddy with some Nilla wafers. He’s too drunk. And Leonard takes a hard beating before Detective Hanson (Cranston Johnson) stops the psychopath cop.
At a black church Hap shows up to sit with Florida, stopping the congregation in their tracks. She refuses, so Meemaw lets him have a seat in her pew. Hilarious to see him clap with no rhythm next to all those happy, celebrating black worshippers. Reverend Fitzgerald (Dohn Norwood) preaches about the sheriff’s department not helping. And right then Sheriff Valentine (Brian Dennehy) strolls in to take the pulpit. He and Judge Beaut Otis stand up there together, Valentine talks about trying build bridges, blah, blah, blah. Nobody’s buying it; not the congregation, not Hap, either.
Meemaw (pointing to Hap): “You see that man standin‘ there? That is the only white man I like.”
Otis: “What about Jesus?”
Meemaw: “Jesus wasn’t white”
In his cell, Leonard gets a visit from a creepy old man. Is he the man from the van? He does some voodoo stuff, sprinkling a line of salt in front of the cell. He hands over a book. One about cowboys, from Leonard’s childhood. Inside are hollowed out pages containing a chicken’s foot. Next day is court. No bail for Leonard and a trial in six weeks. Judge Otis is definitely one of the racists running things behind the scenes in East Texas.
The bombshell? Otis is the one who ran down Mr. Collins and Mr. Pine on that dark, rainy road. Holy fuck. Hap now has something he can hold over the judge’s head to get Leonard out on bail.
With Leonard out, Florida and Hap try to get him laying low. He isn’t happy. Worse still, he doesn’t like that they’re leaning towards Chester being involved in some shady shit. Either way the truth is coming out. Whether it’s a truth Leonard can handle dealing with is another story. But he packs up and gets ready. Meanwhile, Raoul is worried about Ivan. This leads Leonard to discovering his broken cowboy that’s been there since he was 9; the one Ivan smashed on the man’s head. This and the pennies on the windowsill, a chicken foot hanging from the ceiling, all leads them to a man named Elia Moon – the eerie old man, who also spends quite a deal of time near children.
Off go our two brave self-made detectives. They find a shack up in the woods, booby trapped, the entire place covered in dead animals and skins. They stumble onto the old man hiding in a closet. He’s been waiting. An odd duck, though seemingly harmless. He says Chester was actually trying to figure out the mystery of the missing boys before he died.
At the same time, it’s revealed Melton is the one holding Ivan. And he wants the boy to hide something at Chester’s house.
Over at home Leonard sees Ivan is back, acting like nothing’s wrong. Later, Raoul also reveals to Leonard he’s been seeing somebody. Upstairs, the kid a box Melton gave him: is there incriminating evidence inside? I’d bet on it.
Hap gives an alibi for Leonard in 1986. They were seeing a Howard Hawks double feature: The Big Sleep and Red River. Or y’know, that’s what he says. “Devotion” as Florida puts it.
Back at Elia’s place the old man is worried about “bad mojo” in the air, as all his hung up beer bottles start falling from their strings and smashing all over the ground. An omen? It sends Elia off in a rush. He sees a vision of a little black boy, covered in blood. Right before he drives into the river. Another blow to the case for Leonard.
Just a perfect followup to the first episode in Season 2! SO MUCH MOJO.Bring it on, baby. Give me more.
Hap and Leonard – Season 2, Episode 1: “Mucho Mojo”
Leonard discovers a child's skeleton below his uncle's home. Afterwards, he & Hap find themselves embroiled in a dark, disturbing murder investigation.
The Night Of – Season 1, Episode 8: “The Call of the Wild”
HBO’s The Night Of
Season 1, Episode 8: “The Call of the Wild”
Directed by Steven Zaillian
Written by Richard Price & Zaillian
* For a review of the previous episode, “Ordinary Death” – click here
Detective Dennis Box (Bill Camp) is going through the motions. He watches security footage of the night in question, over and over. He watches Nasir Khan (Riz Ahmed) pick up Andrea Cornish (Sofia Black D’Elia). He keeps the crime scene photos nearby. He’s meant to be retiring and yet can’t let any of this go. He notices, in the security footage, that Andrea looks behind her, as if watching for somebody. Her eyes widened. Box knows there is something else going on behind those eyes, so he wonders.
In court, Trevor Williams (J.D. Williams) is on the stand. Chandra Kapoor (Amara Karan) grills him on the lie he told, about being alone on that night. He’s not exactly a credible witness. District Attorney Helen Weiss (Jeannie Berlin) opts not to ask any questions, probably for the best. But then Duane Reade (Charlie Hudson III), the other man with Trevor the night of the murder, is put on the stand, too. Well, Chandra dives on in to get more information. It works. Seems that Duane’s M.O. is to find the weapon of choice for his crimes while inside the victim’s home. Doesn’t look good for Mr. Reade. Except Weiss asks no questions to him, either. John Stone (John Turturro) thinks Chandra’s doing a splendid job, so he heads out. She later gets the hearse driver, the creepy misogynist, on the stand. He does his best to make himself credible, yet Chandra pokes holes in his explanations. The whole scene is very eerie.
Meanwhile, John still has eyes on Don Taylor (Paul Sparks), Andrea’s stepfather. He brings a subpoena for Don, to appear in court on the stand. Plus he makes sure the sly dude knows there’ll be no more threats, or else a guy “from New Jersey” – one of John’s clients – will be paying him a visit. Next day on the stand, Don reels off a story about Andrea being an addict, her mother, as well. The details of their relationship come out while Chandra prods about the will, so on. Not looking good for ole Don. Not looking good for several people. I also worry about Weiss, she seems so tricky. Biding her time, not cross examining. What’s her plan?
There’s so much mystery, though. It’s why I love this series so god damn much. Don is implicated, as is Duane, even Trevor to an extent. And you know what, even Naz is still slightly suspicious simply because of his secretive past of violence that he let nobody know of, as well as his history of selling Adderall to fellow students.
And then there’s Box, tracking down more security footage that they never bothered to find before. Andrea argues with a man, heated and intense. She leaves him standing alone on a street corner, before the man then follows behind her a little ways. This sends the detective on a journey.
Naz has all but become a junkie while waiting in Rikers Island for the nightmare to be over. He scrapes out every last balloon and package he can to get a tiny little bump, to keep him straight. At that very same time, Chandra wants to call him to the stand. Stone doesn’t want that to happen. She really feels the court will need to hear from him. So, against John’s wishes, she asks Naz about it, whether he can handle going up there. With one little gesture he lets her know he’ll need some “help” and that means getting him clean, or who knows what. Detox is the best option, although they may not have that time.
So off Chandra goes to get condoms. Then she goes to find the other ingredients to help her client as best she can. On the corner, recorded by cameras, she buys drugs. The ethical boundaries of this case have effectively disappeared. But when your client can barely make it through the day without the lingering effects of withdrawal, what do you do? You smuggle drugs into jail. Sort of embarrassing to see a good woman like her have to do that, the look on her face is one of shame. There’s obviously no length to which she won’t go for Naz, to help him out.
On the stand, he’s bright and clear eyed. John isn’t happy to see him up there, but Chandra goes ahead with her questions. He describes the night of Andrea’s murder, finding her in the bed dead. Once Helen Weiss gets up, she opens up the discussion of Naz marking up and selling drugs to people at school. Then she dives into information about Andrea. This gets to Naz talking about when he went back to get his keys, breaking the window, taking the knife, none of which makes him look good. At all. “I knew how it looked,” he tells Weiss and the court when asked why he did such a thing. Mostly what goes down is Helen drags Naz through the mud by making him seem inconsistent, or at the very least irresponsible for not having bothered to call 911 even though he was supposedly of sound enough mind to run off with evidence from the scene. A terrible idea to have Nasir up there in front of the court. Stone knows it, and he tells Chandra: “You just convicted him.”
Helen: “Did you kill her?”
Naz: “I don‘t know”
Along with the hope of Nasir going free is that of the cat going free. John brings it back to the shelter, likely to be put down eventually. A tragic, sad turn of events in the metaphorical sense. He’s given up. Simultaneously, Naz embraces the prison life further, getting tattooed from the neck on down. Everyone acts like there’s no longer any hope.
However, hope may reside in unlikely places. Box is sleeping at the station, he can’t let go. He knows there is another explanation lying beneath what sits at the surface. Letting this case go without completing all the good leg work isn’t something he’s willing to do. Nor should he, as he and the others were probably too quick to jump all over Naz’s guilt.
Dt. Box tracks the man in the video with Andrea. He finds it’s Ray Halle (Paulo Costanzo), the one Stone talked to awhile back. He was also a victim of violence some time ago. Because he beat up a prostitute. So it all leads to the detective questioning Ray a little about that evening when Andrea got murdered. Another viable suspect emerges late in the game. Very intriguing stuff.
At Rikers, Freddy Knight (Michael K. Williams) and Naz play cards. A new inmate arrives and the young Muslim goes to talk with him. His name is Terry (Charles Brice), and Naz hopes to bring him into the Knight Gang. He’s been indoctrinated. Nasir doesn’t even need to be led into the whole thing. Sad to watch.
Box goes to see the D.A. He’s worried about $300K that disappeared from Andrea’s finances. He talks about Halle, the lies he told, his meeting with Andrea. There’s also a picture of him at 3 AM tossing out some garbage bag in an empty street. “We‘ve got more on the kid,” she tells Dennis. The look in his eyes is disappointment. Helen doesn’t want to admit she’s wrong. At what price? A young man’s life.
On his doorstep, Stone finds an envelope; inside is a disc. It’s been sent from Freddy. It shows Chandra kissing Naz in the cell when they spoke awhile back. Needless to say, John is not a happy camper. Regardless, he brings it to Naz and suggests there could be a retrial if they divulge what Chandra did. Only that means she most likely loses her career in the process. Still, any means necessary to escape the prison system’s lure.
The video of Chandra and Nasir is brought to Judge Roth (Glenn Fleshler). What happens is that John is put up as the lead defence lawyer. He must give the closing argument. “This is clearly grounds for a mistrial,” Stone exclaims again unhappy with the outcome of things raining down on his head. But the Judge sees through it as a tactic. It’s all up to him at this point.
Weiss does her best to give a big final push. She likens the lost time in Naz’s memory to an FBI classified document being redacted: “Self preservation,” she tells the jury. Everyone in the court notices Dt. Box get up in the middle of her statement and leave. Quite telling.
In the midst of stress, John takes a bleach bath trying to get rid of the itch in his skin. Later in court, he gives his closing statement with his skin absolutely destroyed, gloves on his hands, the whole nine yards. But Stone talks about the first time he met Naz, the look of the kid, and how different he is from the regular clients which he takes on. Furthermore, John makes a good case for how Naz has decided to survive in Rikers, looking the way he does. He lays out the “rush to judgement” against his client, how people were caught up in a flood of his guilt, as it seemed then. His speech is heavy, important, sensible. Beautiful, even. His eyes tear up near the end where he pleads with the jury not to ruin the rest of his client’s young life.
Now it’s all in the jury’s hands.
John goes back to trying to fix his skin. Chandra starts to think about moving on. At Rikers, Freddy talks to Naz about what happens if the verdict comes out guilty. The former boxer talks about prison not being so bad while Naz is around: “You smell like innocence.” He feels it’s a source of pride, to be alongside the young Muslim. To have a person with him who isn’t like everyone else is refreshing. Not a nice situation to live forever, though. Especially seeing as how the drugs have all but taken over Naz’s life.
The jury finally returns. They’ve deadlocked; six to six votes, no change ahead. So Judge Roth dismisses the jury, wondering what D.A. Weiss would like to do. She opts not to prosecute any further. “You‘re free,” says John turning to Naz. An unexpected yet happy finish for Mr. Khan and his family, Dt. Box sees it so, as well.
Nasir has to pack up and get moving for his release. He doesn’t get to see Freddy before leaving. Probably because the one time boxer doesn’t want to have to say goodbye to a friend. Either way, out goes the young Muslim, back into the real world sporting his jailhouse tattoos. He does get one parting gift from Knight: Jack London’s The Call of the Wild. On the outside, his father waits with open arms to take his son back home. Back at their place, the Khans try getting back to normal, all at the dinner table together and eating happily. Yet until someone else has been caught and prosecuted, the Muslim community judges him, staring. Worse, he’s still fighting addiction, which won’t ever go away. And he’s left for a lifetime with memories of that night with Andrea.
Stone: “Everyone‘s got a cross to bear, Naz. Pardon the expression. Fuck ‘em all. Live your life.”
A perfect ending comes when we see that John has taken the cat back in, or we hear it in the background, anyway. He’s been renewed with hope. Then the cat traipses through the apartment, free from its locked room. John has certainly changed to a degree.
Also, like a real trial often we’re not privy to who really did the deed. Maybe Halle will get prosecuted. Maybe it’s actually Don. We’ll never know. Often too true to reality.
What a great finish to this first season. Lots of poignant little moments to take in, and I can’t wait to go back for a re-watch soon enough. I hope you enjoyed it as much as I did. A great set of eight episodes.
The Night Of – Season 1, Episode 7: “Ordinary Death”
HBO’s The Night Of
Season 1, Episode 7: “Ordinary Death”
Directed by Steven Zaillian
Teleplay by Richard Price & Zaillian
* For a review of the previous episode, “Samson and Delilah” – click here
* For a review of the finale, “The Call of the Wild” – click here
Detective Dennis Box (Bill Camp) is at the scene of another homicide; one that bears a striking resemblance to the murder of Andrea Cornish.
In court, Nasir Khan (Riz Ahmed) has to see the pictures of Andrea’s bloody, desecrated body along with everyone else. District Attorney Helen Weiss (Jeannie Berlin) does her best to steer the evidence where she hopes the jury will see it go. Her Medical Examiner pal, Dr. Chester, repeats the line he’d been working on the last time we saw him. Once Chandra Kapoor (Amara Karan) gets at the doc things start slipping. The whole testimony on his part does not look good after she pokes holes in both what he’s said, as well as his reputation. She is a sly lawyer in her own right, even compared to Weiss.
Meanwhile, John Stone (John Turturro) has become honed in on Don Taylor (Paul Sparks), stepfather to Andrea. He’s keeping a close eye on the guy. Especially after Chandra, in court, makes clear the wounds on Andrea’s corpse look like a crime of passion; a personal one. And though we don’t know everything, Naz did not know Andrea before that night.
Sadly it’s Safar Khan (Poorna Jagannathan) who suffers most, it seems. She is torn up having to see the pictures of the supposed crime Naz committed. She seems adrift, alone even within her own family. Salim (Peyman Moaadi) isn’t having any better of a time. He finds himself an object of derision in his own community, as other Muslims don’t look pleased with his family bringing shame on them all. Worse still, his own business partners Tariq (Mohammad Bakri) and Yusuf (Nabil Elouahabi) are essentially turning their backs on him. They’ve blamed Naz for bringing shame “on all of us,” they tell him. “You are the father of a killer,” says Tariq. Now that is brutal. I like that the series shows the good and the bad of the Muslim community. While trying to show the positive aspects, they also don’t shy from showing how within their own communities there’s so much of this type of thing; guilty before proven innocent.
Lots of anger being thrown at the Khans, from graffiti poised towards the community in general right down to rocks tossed through their windows.
All the while Stone keeps his eye on Don as he woos women for their money. Plus, Johnny gets to keep his feet moving since they’re no longer wracked by the bubonic plague. He’s got all sorts of information rolling in on Don. He even gets in contact with an older woman that was once romantically involved with him. She actually had to call the police because he strangled her. A bit of money and then the Don problem went away. So he’s got himself a history of nastiness.
A witness for the prosecution tells the court he bought Adderall off Naz at school. Turns out the young Muslim had customers. He has secrets in his past. Not so innocent after all. But a murderer? Nah.
With his feet fixed, John’s already got a new rash started on his neck. In other news, his family – what’s left of it – is falling apart. One thing gets better, another gets worse. The tragic life of a Greek-like figure, that Stone.
At Rikers, Naz is getting along well enough. At least he’s not doing sexual favours like Petey (Aaron Moten) whose mother smuggles in the drugs that Naz takes in for Freddy Knight (Michael K. Williams). Then again, having to swallow drug balloons from a strange woman’s vagina isn’t exactly glorified behaviour. Especially considering Naz does it now without hesitating, not a single choke. Similar to how his behaviour is described in court, by a man on the witness stand testifying about Naz’s incident of violence years ago nearly killing another student.
And yet again, another secret. A second act of violence, not known by the defence. Naz threw a full Coke can at someone’s head and busted him up good. Hearing this in open court like that rocks Chandra. Her idea of Nasir seems to constantly be changing.
Poor Salim and Safar. They’re giving up everything to pay for their son’s defence. They pawn off jewellery, anything possible just to keep their boy with a lawyer. What’s sad is that Safar is really beginning to doubt the illusions of her son; they’re becoming just that, a mirage.
Finally, Don confronts John. He does so in fairly violent fashion, though not enough to freak anybody out, other than Stone. A threat’s been made. Easy to see that Andrea’s stepfather might have more rage in him than anybody knows.
In court once more, Dt. Box is on the stand. He is a pretty rational, sensible talking man. He doesn’t beat around the bush, even as Chandra gives him a proper going over.
Alone together, Naz and Chandra talk. He wonders why she defends him, lamenting that his father is the only one who believes him. Not even his mother. There’s an air of sexual tension, and then Chandra leans in to kiss Naz. Images of the night Andrea died flash, her and Naz embracing. Ah. No good for their professional relationship, that’s for damn sure. This can only complicate things further.
Chandra has Dr. Katz (Chip Zien) on the stand. He talks about a missing knife from a set found in the brownstone. He also testifies that the wounds on Naz’s hand were not from stabbing. That it came from a game of five finger fillet (though she incorrectly calls it mumblety-pegs). Katz pokes a lot of holes in the evidence of the prosecution, as best he can. Remember that odd picture he took in the apartment? Well, he’s got an answer for that one, too. Smart chap. Weiss gets hold of him then to try poking her own holes, such as attempting to link Naz and O.J. Simpson in a snide remark. She goes at him head-on. Admirable. But clearly she’s only trying to sneak one past the goal post.
John finds the picture of Naz’s inhaler. He wonders what happened to it, then the young Muslim tells him about Box having given it to him that night in the holding cell. So John goes to see the retiring detective, along with a subpoena.
Quickly, Stone and Chandra have him back on the stand. She asks him about the interviews, witnesses, all sorts of things. She eventually brings into question Box’s mishandling of the inhaler. He willingly admits to having given it to Naz. Chandra spins it to look as if Box took the inhaler from the evidence in order to ensure their narrative fit; can’t stab someone 22 times and take hits off your puffer, right? Box does his best to deflect. However, there’s no guarantee this won’t reflect badly on him, or the prosecution.
Back at Rikers, Naz finds Petey dead in the shower. He cut his wrists to pieces, to not suffer the sexual abuse any longer. That’s terrifying tragic. Naz looks on in desperate sadness. In Freddy’s cell, the big man doesn’t know about the real reason for the kid dying. And the rapist, he sits there trying to keep Naz silent. Even sadder.
In private, Naz confides in Freddy the reality of Petey’s suicide. This precipitates a shiv being made. The rest, you can guess. Criminal justice within the criminal justice system.
What about the real justice?
Another fine episode from HBO’s excellent series. One last episode left! Its title is, fittingly from Jack London, “The Call of The Wild” – will the truth all come out? You can be sure of it.
The Night Of – Season 1, Episode 6: “Samson and Delilah”
HBO’s The Night Of
Season 1, Episode 6: “Samson and Delilah”
Directed by Steven Zaillian
Teleplay by Richard Price & Zaillian
* For a review of the previous episode, “The Season of the Witch” – click here
* For a review of the next episode, “Ordinary Death” – click here
Mr. Stone (John Turturro) is doing his best to take care of the cat, still. Despite his terrible allergies. He keeps the cat locked in the room, cleans out its litter and feeds it through opening the door quick, tossing everything in. But why does he do it? Because it’s the right thing to do. Similar with how he’s starting to feel about Nasir ‘Naz’ Khan (Riz Ahmed), whose own concerns mount by the day, sitting at Rikers Island with Freddy Knight (Michael K. Williams) and watching the top dog prisoner prepare then smoke some drugs. At least now, after the favour he did for Freddy, Naz can call his parents; he has a cellphone, courtesy of Knight.
What more is to come from their relationship?
Safar Khan (Poorna Jagannathan) and her husband Salim (Peyman Moaadi) are in dire straits financially. Without her husband, Safar is out trying to find work. She’s a tough woman, I hope we get to see more of her character. At the same time, Detective Dennis Box (Bill Camp) is digging into the Facebook account of Naz. He starts to see maybe a side of the young Muslim which may not be good for the prosecution. Or, are there deeper secrets to Nasir we’ll soon find out?
Well, D.A. Helen Weiss (Jeannie Berlin), she’s busy trying to make the drug intake of Naz look proper for their version of the story. As her unlikely competition, Jackie Stone, is busy juggling his life and that of Naz alongside the horror story of his feet. I love that we get a ton of Stone’s character amongst everything else, but further than just that his feet are representative of the mindset in which he’s lived so long, to the detriment of his health while pursuing case after case trying to chase the all-American glorious dollar.
All this time, Naz is in prison falling farther into the lifestyle. Even has himself some knuckle tattoos.
We can’t forget Chandra Kapoor (Amara Karan); another of my favourite characters. She watches video footage of Naz at a gas station the night of the murder. A man in a hearse stops, though doesn’t get any gas, and then leaves when Naz does, too. Hmm. Now that is suspicious right there. Leave it to Chandra. I have a feeling she’s the most underestimated of the entire crew of lawyers in the series. Once she tracks down the hearse driver he’s full of eeriness, lots of misogyny and the like. When he mentions some biblical verse, this is where I imagine Samson and Delilah comes in, giving us our title.
John drinks a bit of strange powder the Asian doctor gave him. Another supposed cure. It’s amazing he can even keep his head on straight. A terrified Chandra shows up at his door, though. She has a Bible with her. She talks about Samson and Delilah, reading verse for John. “That‘s what he thinks of women,” she tells John re: the hearse driving mortician. Could this man have anything to do with the case, or merely a red herring?
Back to Rikers, Naz is constantly doing push-ups, always honing his image. First, push-ups. Then, tattoos. What comes next is anybody’s guess. Paralleled with Naz figuratively and literally pumping up his image is Box flicking through his past. What the detective begins unravelling is there’s a rage underlying the identity of Nasir Khan; he was involved in an altercation at school where he nearly paralysed another student, luckily only breaking an arm. But there’s a temper in Naz we’re not exactly seeing outwardly just yet, only in glimpses.
But what I wonder now is: could Naz actually have killed Andrea? Is there a chance? Because we never actually saw what happened. We assume Trevor Williams (J.D. Williams) and his buddy may have done something. However, at this point the doubt is creeping in. Perhaps that’s what Richard Price is aiming for. To plant the seed, let it grow. Except never sure, until the end, where it’s headed. Love, love, love it.
Also, the jury is being sorted out. Yet we’re privy to a real view of the selection, as a group of people up for the “honour” of doing their citizen duty fall asleep watching a video introducing them to the process.
John and Chandra are beginning to see that Naz has a problem with the truth. Afterwards, the young Muslim explains himself to Chandra. He talks about post-9/11, the hate to which he was subjected because of his skin and his religion, the fights and the beatings. This is what led to his fight with the boy at school. He challenges Chandra’s view of him, wondering if she believes he’s capable of having killed Andrea. Little flashes of the night come back in pieces to Naz. I can’t imagine what else he might remember down the line.
One thing’s for sure – the state has piles of evidence against Nasir at their disposal. They’re fitting to bury him under anything and everything they can.
I love how suspenseful and tense much of this series has been. This episode in particular is so well edited, scored, shot, paced, that all of the suspense is at the forefront reeling us in tight. When Salim arrives at Chandra’s door, delivering food, we’re almost as surprised as she. I half expected it to be the unsettling mortician hearse driver. A wonderfully put together sequence.
We’re on the verge of the trial, which is poised to be possibly the most intense and interesting portion of Season 1. What I dig most in this episode is that John has finally beaten the foot pain. His feet, at least right now, are cured. He’s able to actually wear a pair of shoes for the first time in so long. He looks professional, for once, and this will hopefully give him a bit of an edge, finally without pain and not worrying about the zombified flesh at his toes.
Moreover, Freddy proves to be looking out consistently for his friend Naz. He offers a white shirt and black tie, although the young man refuses. In court, Stone then has to switch his own shirt over for Naz to wear; another stroke of honesty for Mr. Knight. Interesting.
But on we go, into the opening statements and ready to see the court proceedings at the trial of Nasir Khan. “This case isn‘t about Andrea‘s life, it‘s about her death,” Weiss explains to the jury. Afterwards, Chandra gives a poignant, brief opening statement that makes her look pretty strong. A good start. Things will get rough, as the trial wears on and the ugly truths and dark corners are brought into the light.
When Naz is back home, in prison, Freddy bonds with him some more. About himself. He talks about why he’s in Rikers instead of another place, leading to the discovery that Freddy has a couple “bodies on” him. Worse, he leads Naz into smoking some drugs – what I imagine is heroin – and this is the beginning of further trouble in Khan’s life. So, whereas Freddy seems to have his best interests in mind when it comes to Naz’s court appearances, he’s not always looking out for him like he should.
In court, Naz watches the video of him getting pulled over by the police on that fateful night. One of the officers is on the stand giving her statement, if not a bit hyperbolic. The knife is discussed, as well as the fact Naz tried to run. Doesn’t look good when the video of the station is shown where Naz attempts breaking free from the cops surrounding him.
Naz, a.k.a Sinbad – which is what he has tattooed across his knuckles now – discovers more about the prison life than he had hoped. He sees one of Freddy’s crew getting a blowjob from another young inmate who recently came in, the one whose mother helped smuggle the drugs in last episode. Following this event, Naz calls Chandra. Far as he falls into the mitt of Freddy, there’s still shock when he sees what’s happening around him. So he talks to her for comfort, if only for a minute. Even the cell is more of him becoming further criminal, as he gets money for letting others use it; more criminality, all the time.
Next day in the shower, Freddy’s boy puts a blade to Naz, right at the neck, and threatens him over the blowjob he witnessed. Great, more and more issues each passing day.
On the outside, Johnny’s mind is constantly working. He wonders how Andrea afforded to live in such an expensive brownstone apartment. He starts to dig into the records, finding an Evelyn Cornish – deceased – linked to the place. Finally, Stone has tracked down the guy he snapped a picture of arguing with Andrea’s stepfather Don Taylor (Paul Sparks) at the funeral, a chartered personal accountant named Ray Halle. This gives us a better idea of Don.
And it muddies the waters. Seems like Naz really ended up in the middle of a life that was burning all around Andrea. No telling anymore exactly what the story is, as Naz, Don, everybody has a secret they’re keeping, just as it is in real life.
What a powerful episode, all around. This series is just fascinating, from writing up to the visual aesthetic and overall execution. Next episode is “Ordinary Death” and I’m looking forward to another big heap of revelation.
