Hap and Leonard – Season 2, Episode 6: “No Mo’ Mojo”

SundanceTV’s Hap and Leonard
Season 2, Episode 6: “No Mo’ Mojo”
Directed by Tim Southam
Written by Nick Damici & Jim Mickle

* For a recap & review of the penultimate episode, “Pie a la Mojo” – click here
Pic 1The finale of Season 2 opens, years ago, as a boy – little BB with the red shoes – is chased into the old church, past that familiar gate. Someone grabs him and smashes a rock into his head. The man removes the gate, takes the kid, then at the lake tosses him in tied to the thing. Others watch on, then they leave, disappearing into the mist. Are they spirits? Watching on as history is repeated and repeated?
I have a feeling we’re soon going to learn more in this last episode.
Pic 1AHap and Leonard (James Purefoy & Michael K. Williams) reminisce on religion’s “strong medicine” v. its “strong poison” in relation to Rev. Fitzgerald (Dohn Norwood), his insane murders. A devastating thing for their East Texas town to wallow in, as the church holds a ceremony for all the boys lost. Everybody’s there, from Sheriff Valentine Otis (Brian Dennehy) to Florida Grange (Tiffany Mack), Dt. Hanson (Cranston Johnson), and many more. The greasy, insincere Sheriff takes the pulpit, shelling out verbal sympathy for the families. Blah, blah, blah. And certainly our heroic pair get no thanks or recognition for their role in, essentially, solving the case on their own. Best of all, in this scene we get to watch Hap and Leonard do their BEST buddy comedy routine, with a lot of pitch perfect dialogue.
Hap: “I aint never been more proud to be an atheist than I am today
Leonard: “Amen to that
Stella and the other mothers who lost their boys do know the truth, that the eponymous duo are the ones who actually figured out what happened, giving them all closure.  Sadly, Hap still has one worry – that Hanson and Ms. Grange are getting together. Likewise, Leonard comes home to find Raoul, who’s tracked down Ivan’s (Olaniyan Thurmon) father; the kid is going home. And much as our man tries to pretend like he’s hard, Leonard is going to miss him; their bonding over Huck Finn and his adventures was sweet. Also, I’d love to see Raoul and Leonard get back together. They’re good.
AND POOR MEEMAW! I miss her. In her wake, Florida and others are left reeling with the news of the reverend, a man who pulled the wool over all their eyes. Left without Meemaw’s wisdom to get through it all.
Florida drops a bomb on Hap: “I always saw myself with a black man.” This is a gut punch. Whoa. Poor fella.
Hap’s got other things in mind, though. After seeing a curious number of angel figurines at Meemaw’s place while he and Florida pack everything up. Across the way, Leonard hears Chester speak to him from somewhere else, saying that the work isn’t done. Hap and Leonard now believe that BB was killed by someone other than the reverend. And I’m pretty sure we all know that someone was Sheriff Valentine Otis, who’s receiving a visit from Dt. Hanson about those red shoes and the very same line of questioning as our duo have on their minds.


Hap and Leonard get talking to Hanson’s partner Charlie Blank (Douglas M. Griffin). He’s reluctant to say much, after his trouble from shooting TJ. But they’re further on their journey now. Towards the truth. They’ve got their eye on the big bad sheriff. Only he’s got his eye on them, too. He’s much too craft. Then, at the diner, they notice the waitress Miriam has a chain: it reads BB.
The boys go see Miriam at home. They show her the BB chain, which shocks her. Such a sad thing to watch, especially when she’s been serving that old bastard every day at the diner. All that’s left is what Hap and Leonard will do, while they try to figure out how to handle Valentine, and when’s the best time for that. Not only is the history of BB with them, the history of the deaths of their fathers, covered up and forgotten is at their backs.
Leonard: “Things change, Hap. People dont.”
They lay what they know at Valentine’s feet. They want to know the truth, about everything. He acts nonchalant about the entire thing. A revelation comes: BB was Valentine’s son, he wears the same chain with the initials around his neck. The mystery thickens. “That boy was the most beautiful thing that ever happened to me,” he explains, and how he couldn’t claim the kid because of the “colour of his skin.” Then they reveal that Fitzgerald never killed BB, which disturbs him terribly.


And who killed him? Just as it’s revealed, we see Judge Beau Otis walk in. He’s visibly upset by the talk. We know now, it was the rightful son upset over the illegitimate child his father had with a black woman who killed the boy. WHOA! Holy fuck, did not see this coming. Great suspense and mystery in the writing led to this moment. The father knocks his son into an empty pool nearby, splitting his head open wide. A sort of strange, bittersweet moment as Hap and Leonard watch the man who killed their fathers die at the hands of his own.
In the meantime, Hap his dad’s old repair truck fixed up with the nice, fresh decal on the side for Bud Collins’ business. He and Leonard head out for a drive, where they bring the old gate back to the church and put it in place again. Full circle, as the two put it.
Leonard: “Yknow, in the end, its always me and you.”
Hap: “Just like the Lone Ranger and Tonto
Leonard: “Yeah, wellcmon Tonto.”
And as they leave the church, the spirits of those who died there, the boys, those taken by the KK, and sweet Meemaw, they appear again in their rightful places, able to move on from the darkness.

Pic 4CAn amazing Season 2! With a distressing, dark cap at the end where we see a tree with a noose in it, and in the yard a woman finishes putting KKK linens on the line. OH, baby. Give Joe Lansdale, Nick Damici, Jim Mickle & Co. the greenlight, SundanceTV! We need a Season 3. Pronto. With plenty of mojo.
Pic 4D

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Hap and Leonard – Season 2, Episode 5: “Pie a la Mojo”

SundanceTV’s Hap and Leonard
Season 2, Episode 5: “Pie a la Mojo”
Directed by Tim Southam
Written by Joe R. Lansdale

* For a recap & review of the previous episode, “Bad Mojo” – click here
* For a recap & review of the Season 2 finale, “No Mo’ Mojo” – click here
Pic 1Hap and Leonard (James Purefoy/Michael K. Williams) have found the carnival at the end of the Idaho-like bus route. They see the ghost of Chester, we see them as boys. And the old man tells them, once and for all: “Finish this.”
Florida Grange (Tiffany Mack) is dealing with Detective Hanson (Cranston Johnson) and it isn’t all roses, either. At the same time, Hap and Leonard are staking out at Meemaw’s (Irma P. Hall) place where she looks after young Ivan (Olaniyan Thurmon), who’s not entirely loving being shut in. Lord knows I love me some Meemaw! Ms. Hall is a treasure, and you can see her having fun playing the role. In other news, TJ (Kelvin Brown) helps our boys sneak out of the house under Sneed’s (Evan Gamble) nose.
TJ: “Nobody expects the retard
And now, Hap and Leonard get themselves labourer jobs with the carnival to go undercover, to try rooting out the killer of those boys. Is it all so simple? Well they run into an old friend, the flexible and fun Judy Punch (Bonnie Morgan); she’s too “old for the pole” nowadays, so, carnival it is!
Pic 1AOur titular heroes are on the constant lookout for any clues as to who killed the boys. Everything is suspicious, from behaviour to tattoos to look; anything could mean danger. Leonard drops a nice Ray Bradbury reference calling a tattooed carny serving food The Illustrated Man. They ask Judy if there are any noticeable candidates, and she suggests a few possibles giving them something to chew on. She also gets her hands on employee files for Hap, as well as hopes he’ll put a couple hands on her, too. Instead, he clings to responsibility. To do right by the missing, murdered boys that have piled up over the years. Somehow, despite her wonderful abilities, he refuses. Now that’s some strength, especially for ole Hap.
Judy: “I may not be as limber as I used to be, but I can still do more with six inches than a monkey can with a hundred feet of grapevine.”
Then there’s Leonard, searching the trailer of the tattooed guy. Turns out he’s a big bear of a man in the bedroom, ready to play. And those tattoos, they’re for sobriety. Poor Leonard barely makes it out alive, away from the sexual tyrannosaurus.
Back at Meemaw’s, Ivan is bored out of his mind. Can’t stand reading. Though she tries to show him the joy of it, that it helps you live a life inside the pages without having to always go out, letting you get into the trouble with Huck Finn without having to get into the trouble yourself. But the kid isn’t down for that.
Pic 2Hanson and his partner follow Florida to a garage, where she finds her own way inside. Where Hap and Leonard have been putting up their investigation links, the pictures of the boys, everything they’ve discovered so far. Leading the detectives right to it all. And y’know what they think immediately. Moreover, Sneed tracks them to the carnival, so an APB is out, as Ivan happens to stroll in. Another boy in danger.
In Judy’s trailer Hap and Leonard look over the employees, but the latter’s not sure they can take on an investigation of this size, just the two of them. Police are likely better equipped, yes; do they care as much? Doubt that. Regardless, the cops are already there, searching them out. As is Florida, trying to find them first. She finds Hap, and Leonard tries to get the Reverend Fitzgerald (Dohn Norwood) to get his group of kids out of there in case something bad goes down. After all, it’s the “third Saturday of every October” and tonight is that night.
This whole sequence is edited to perfection, taking us from Hap to Florida, to them together, to Leonard. Hap and Leonard writer Joe R. Lansdale’s (who wrote this episode) daughter is in this episode, too; we see her now and then. But this sequence is so well done, executed with expert directing and writing in combination.
Best part – Leonard saves Hap from arrest on the back of a horse! So Texas, so awesome.
Pic 3When they get out to the crypt, they find TJ there. With Ivan in the car. The big man says he’s “making angels” and that he put Ivan to sleep. Shit. A shotgun cocks in the background, then out comes the Reverend Fitzgerald. He and TJ were doing God’s work, supposedly. WHOA! I actually wondered if this was the case, the reverend that is – I didn’t see TJ coming – but dismissed it, and this surprised the hell out of me.
Rather than go down like that, Hap and Leonard get the jump on Fitzgerald. Then TJ joins in the fight. The boys break out into a brawl, as Leonard kicks the shit out of the (un)holy man with some of that military training. Before much else happens the cops arrive, to find the rev with a shotgun trained on the boys. Nothing more can be said before Fitzgerald turns the gun on himself and blows his face off. Poor TJ wanders out into things, as well. And Hanson’s partner fires on in him preemptively. Brutal stuff. At least Ivan’s not dead!
Now the corpses of those 13 boys in the crypt are uncovered, what Hap and Leonard had been finding out on their own is given credence instead of them getting blamed. Heroes who won’t get any credit, most likely.


Only thing is, someone has to tell Meemaw the truth. Hanson comes to do it, but Leonard offers. So it’ll be easier from someone she knows personally. Oh, just thinking of it breaks my heart. She takes it on herself, believing it her fault. She did all she could do for the boy, the rev turned him bad, manipulated him. “I thought if I just loved him hard enough…” she tries explaining to Leonard. Meemaw believes the devil followed her after that church was burned by the KKK all those years ago. Bless his heart, Leonard tries convincing her that’s not the case. And she does make a good point about the transformative power of love – Chester changed Leonard, Florida changed Hap.
Then we’re given another blow. Meemaw, as if done with life, gives up and dies right there in front of the pair. Like all of life’s unfairness toppling around us, in the background while they lament Judge Beaut Otis celebrates re-election. Nasty stuff.
Pic 5God damn you, Joe Lansdale! For making me cry tonight. Bastard (I actually love you, man). What an episode. Didn’t think the series could get any better, and then it tops my expectations. “No Mo’ Mojo” is next, the Season 2 finale. SundanceTV better give us another season or I’ll riot.

Hap and Leonard – Season 2, Episode 4: “Bad Mojo”

SundanceTV’s Hap and Leonard
Season 2, Episode 4: “Bad Mojo”
Directed by Abe Sylvia
Written by Abe Sylvia & Ione Lloyd

* For a recap & review of the previous episode, “Holy Mojo” – click here
* For a recap & review of the next episode, “Pie a la Mojo” – click here
Pic 1A young Hap and Leonard are at the fair. Even back then Hap was in love with Florida, though worried he wasn’t good enough. And the pair loved one another, Hap and Leonard, even then. Unafraid to show their affection for each other. In the garage, present day, Hap (James Purefoy) wakes to find Sneed (Evan Gamble) and a few other cops there to arrest him. Now he’s in a cell across from Leonard (Michael K. Williams), in for the arson he committed. Hap’s in for kidnapping Judge Beau Otis, whom he recently discovered is epileptic; wonder if that’ll come into play again down the road, or if it had anything to do with his killing of their fathers. Hmm.
Pic 1ASheriff Valentine (Brian Dennehy) has a talk with Hap about whether he’s a “troublemaker.” He does not want any trouble with his brother; he is poised to be the new county judge. So it’s either leave things alone with Beau and go home, both he and Leonard, or else it’ll look grim. And no more digging around where neither of them belong. Some rough talk. In an interrogation, Leonard’s dealing with Dt. Hanson (Cranston Johnson) and his racist partner, neither of them being too friendly. As always, Mr. Pine won’t do the dance, not for a black cop or a white cop or anyone else that wants him to tell lies about himself.
Leonard: “And we aint no brothers. Slack or no slack.”
At least he’s out of jail, and Hap, too. Neither of them immediately see a way forward. It’s all over, so Hap heads out to work and Leonard goes to check on Ivan (Olaniyan Thurmon). They did their best. That’s all they can do, right?
Florida (Tiffany Mack) has an awkward meeting with Hap at the diner after she didn’t show up for his and Leonard’s arrest. It wasn’t hooking up that made her stay away, it’s the fact they’re constantly in trouble and poking around in some dangerous business. What I love about this episode so far is that Hap seems to be having some strange daydreams, from hooking up with Florida to the Village People. Over with Meemaw (Irma P. Hall), Leonard and Ivan get closer. Then Leonard notices the picture of the church on her mantle, where the gate stood. A troubling thought. It was long ago, when Meemaw was a girl. She tried putting out the far the Klansmen set, burning her arms. Such a sad thing to see when she tells Leonard of what happened that day.


Dt. Hanson is looking at the child’s body in the morgue. His partner Charlie is worried that he’ll be caught “tampering” but it’s only the fact he knows there’s more afoot. Hanson pushes on, he’s starting to feel there is more than meets the eye. Suddenly, Sheriff Valentine arrives, as the detectives hide. The old man is there to visit the body. He has the shoes. Holy fuck. And with the detectives watching on unseen he puts the little red shoes right in the body bag, signing off forms for the medical examiner. Washing his hands of the situation, the body off for cremation. Or so he thinks. There is no way Hanson will let this sit on his conscience, at least not forever.
I love how, using the same line of dialogue, Hap and Leonard both figure out the gate is from a church. It’s just excellent writing, and they each deliver the line is such different yet similar ways that the respective scenes are perfect. Hap does a bit more investigating, trying to figure out if the church he’s located is the one where the gate stood years ago. During a charity boxing event at the church, he gets in on a boxing match and things get heated in front of Florida and the audience as Hap and the pastor throw fists. Ultimately the white boy goes down, not without a decent fight.
Meanwhile, Leonard’s tracking down information on the church. And he’s haunted by the ghost of his uncle Chester, as well as Illium Moon.


Leonard: “Goddamn peckerheads all think alike
Hap: “I thought it was great minds
Leonard: “In your case, peckerheads.”
The pair are getting closer and closer, finding their way to where Old Hope church used to stand. All that’s left are the bricks of the foundation, nothing much standing. Then they fall right through an old, broken floor. Through the basement they find coffins labelled with years. Inside, more children. Disturbing, to say the least. Now the boys have got themselves a handful; way more than that, two arm loads. They set themselves up an investigation, connecting dates, names of the missing boys. An elaborate puzzle they’ve got to put together, because it looks as if whoever’s been taking those boys and killing them isn’t done with whatever they’d planned.
Hanson and his partner are distraught over what they’ve seen. Although it’s the former who’s more interested in actually digging out the truth. Not just that they’re in the dark, struggling for clues. Hap and Leonard are further ahead in their investigation than the actual police force. A great testament to the lack of care put into missing black children; we think it’s bad today, it was even worse in the ’80s.


Hap and Leonard are trailed by the police on the latest leg of their adventure. They pop in to see Stella at the salon. She’s sly, as are the other ladies sitting around getting their hair done. Great moment as Stella tells the cops to find her missing son while they’re so concerned with tracking down the pair. Then the other mothers show up. Hap and Leonard are the only ones looking for the missing boys.
Love the sequence set to Johnny Cash’s “Wayfaring Stranger” as the pair ride a bus, all the young black boys and girls around them. What would otherwise be a beautiful sequence of all the smiling faces, the youthful innocence, is a tragic sight; seeing Hap especially look at them is like a gut punch, knowing any one of them could go missing and barely anyone would flinch as is the case with BB and the others. Haunting sequence, one of the best in the series as a whole.
Pic 4DArriving at a carnival, now knowing part of their map of the missing boys links to the busses and Idaho, Hap and Leonard have more to go on. BB’s little body has been cremated, but the shoes aren’t gone yet.
The next episode is “Pie a la Mojo” and it looks intense! Pumped to see what goes on next in this stellar adaptation of Joe R. Lansdale’s characters and novels.

Hap and Leonard – Season 2, Episode 3: “Holy Mojo”

SundanceTV’s Hap and Leonard
Season 2, Episode 3: “Holy Mojo”
Directed by Abe Sylvia
Written by John Wirth

* For a recap & review of the previous episode, “Ticking Mojo” – click here
* For a recap & review of the next episode, “Bad Mojo” – click here
Pic 1Some little black boys and girls play near a graveyard, some hide and seek. Off in the distance are hooded Klansmen on their way towards the church. The children are rushed into a basement, as the white hoods march closer with gas and ropes fashioned into nooses. But one little girl doesn’t make it down, witnessing the burning of her church, the hanging of a groundskeeper. A brutal, vicious moment. She continues to count for hide and seek; better than watching.
Pic 1APresent day, we see Hap (James Purefoy) and Leonard (Michael K. Williams) on their way up to Moon’s cabin, talking about Florida Grange (Tiffany Mack). When they arrive, they find a van in the river with Moon inside, dead. Now the pair worry for what happens to Leonard. Hap wants to move the body, though his trusty buddy tells him: “Thats bad mojo.” The chemistry between Purefoy and Williams is so charming and undeniable, they’re perfect as Joe R. Lansdale’s eponymous characters. Instead of reporting anything to the police the boys sink the van further in the river, to keep on with their own investigation. They also stumble upon the steel gate to which the child under Chester’s house was tied; where the hands remain.
Florida goes to talk with Judge Beau Otis (John McConnell) about recusing himself from the Pine case. She uses the information about Hap and Leonard’s fathers against him, though he acts high and mighty, refusing to bend. She pulls a nice little power move before leaving, eating one of his fries.
At home, Hap goes over clues in the case, putting together all the evidence he can gather. Looking over maps, newspaper articles. Meanwhile, Leonard looks after Ivan (Olaniyan Thurmon), cooking for him and trying to imbue the boy with a sense of personal responsibility. He then gets a visit from Detective Hanson (Cranston Johnson) with a warrant to search the place. Ivan takes off, tossing the secret box he holds onto Melton’s (Sedale Threatt Jr) roof. Hmm.


Florida wants the boys to talk to Moon, so Hap’s got to do some covering. Wonder if it’ll take long before the truth comes out. Time being, “dirty old man” Hap can’t keep his eyes off Ms. Grange. She has her hands full with the case, butting heads with Dt. Hanson over Officer Sneed (Evan Gamble) lurking around after assaulting Leonard. Worse than that Sneed spied Ivan tossing that box. Can’t imagine where that’ll lead; someplace nasty.
One good thing – Hap and Leonard find Ivan stowed away in the truck, and he says he knows where the gate came from, he can take them there. One bad thing? Hanson and Florida go to find Moon, and the detective comes across evidence suggesting he’s nowhere to be found. Uh oh.
That good thing, it ain’t so good when Hap and Leonard end up somewhere they shouldn’t be, and a group of neighbourhood women surround the boys. They want them to hand over Ivan. Afterwards, they go to see Stella (Shirlene King), the lady in charge. When they tell her about investigating the disappearance of all those boys, she’s got information that may help – the gate came from a church – and it’s possible her boy was one of the boys taken.
Leonard: “Aint no runninfrom your shadow
Judge Otis shows up at the gas station where Hap works. For a fill-up, and a talk about Leonard. A sassy talk, especially for a man who’s a judge and killed a couple people while driving drunk. For that, Hap cuts up some equipment under the guy’s hood and lets him go on.


Stopping at a store, Leonard comes back outside to find Ivan gone. And a cheap cigar left behind smoking. Sneed? I’d bet on it.
Broke down on the road, Judge Otis is met by Hap in the tow truck. He busts out one of the guy’s windows, then forces him into the woods. He tells the Judge a story about an old man and the dog he loved, a bad, sour dog. One day a kid was bitten by the dog, right in the chest, in the heart. Before Hap can bash the Judge’s head in, he nearly has a heart attack. He leaves the man in the woods to run off eventually.
At a diner, Sheriff Valentine Otis (Brian Dennehy), father of Beau, has a talk with Florida. About jobs, who’s doing them well, who isn’t, on top of what’s been going on in their little East Texas town. Looks like the Otis family are a gang of alcoholics, a running familial trait. Not only that, they love making threats. “Be careful,” Sheriff Valentine warns Florida before heading out.
And Leonard, he goes to see Sneed. Catches him in the bath. Just so happens Leonard brought a bit of salt, a radio; to get the conductivity going for when he tosses the thing in – except the unsuspecting officer doesn’t realise it’s a battery-powered radio. He also grabs a handful of Sneed’s balls, squeezing, looking for info about Ivan. Sneed gives up information about Melton, which is where he brought the boy. Leonard goes to Melton’s, finding Ivan shot up with drugs by the nasty dealer and his friends; he brings the kid to Meemaw (Irma P. Hall) then goes to clean up the neighbourhood.
Pic 4AFlorida goes to tell Hap he needs to lay off Judge Otis, or else Leonard’s ending up behind bars. She wants him to be honest, about everything. He reveals that Moon is dead, though she knew. And a bit of honesty goes a long way to getting the two together, which Hap was leaning for since he met Florida.
While they get down, Leonard gets busy. As in molotov cocktail busy, tossing some fire into Melton’s place and watching it burn. On the roof, the box burns, too; what was in it exactly? We’ll never know, likely. Something to incriminate Leonard, and luckily Ivan chose not to leave it at Chester’s for anyone to find.
What’s most interesting? Meemaw has a photo on her mantle. One of a church, and standing in front of it is the gate to which that child’s body was tied. This is the church we saw those Klansmen attack in the opening scene. BOOM!


What a stellar followup to the second episode. Just awesome adapted writing, the characters are so vivid and intriguing. Purefoy, Williams, Mack, everyone is doing a fine job with the performances. Can’t wait for “Bad Mojo” next week! What do you think the boys will get up to? And can Florida help Leonard avoid the slammer?

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
Pic 1Young 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.
Pic 1ALeonard’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: “Thats 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.
Pic 2At 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 standinthere? 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.
Pic 5Just 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”

SundanceTV’s Hap and Leonard
Season 2, Episode 1: “Mucho Mojo”
Directed by Maurice Marable
Written by Nick Damici & Jim Mickle

* For a recap & review of the Season 1 finale, “Eskimos” – click here
* For a recap & review of the next episode, “Ticking Mojo” – click here
Pic 1AThere’s a dark secret buried, one that Hap Collins (James Purefoy) and Leonard Pine (Michael K. Williams) will soon stumble upon. This season we open on someone disposing of a young person’s body, tying them, then dumping their corpse in a lake. Terrible things go on unseen. But it doesn’t take long for them to emerge for all to see.
Back again to the world of the ever fantastic Joe Lansdale!
Hap’s picked up the remains of Trudy; ash in a box. And while he loved her, that’s one less giant mess in his life. Everything for him is messy, from relationships to his piece of shit car door. He gets by for now working as a mechanic. In other news, Leonard’s at home getting a hard back massage from his boyfriend Raoul. He’s got problems with neighbours, too. Nothing that a cane can’t stop, or a bit of piss in the face. What I love about Leonard is he’s gay and black in the late ’80s, so there are bound to be more situations that arise from that, living in the South and all. A little later, he steps through a floorboard in his dead uncle’s old place: now he’s found the secrets long ago covered up, forgotten about.


Leonard: “The dead dont give a shit about what happen toemtheyre dead.”
The two friends go digging under Chester’s floorboards more, inspecting the skeleton they’ve found. It’s a child, a small one.  Same sneakers as the one dragged from the lake. Now Leonard wonders if his uncle knew, especially considering how long Chester lived there and how decomposed the body is currently. So, what next?
A kid runs off with Trudy’s ashes, sending Hap and Leonard on a chase. Then the box gets tossed into a garbage truck driving past. Instead of letting it get away, Leonard stops the truck to get Trudy back.
The boys alert the police to the body under Chester’s house, which marks the place as a crime scene. But you just know them two are gonna get up to something soon enough. The old lady across the street doesn’t believe Chester had anything to do with the body, though the police – Detective Hanson (Cranston Johnson) in particular – are investigating with suspicion. And someone in a van lurks around the neighbourhood. Very likely the one responsible for that body’s existence.
Leonard talks with Dt. Hanson at the precinct, as Hap talks with another detective. Some uncomfortable conversation comes up when Hanson says “you people” enjoy little kids; he means homosexuals. Nasty. Likewise, Hap faces scrutiny about his status as a conscientious objector during Vietnam, all the mess they got into with Trudy and the rest of her friends. After all that they discover there were no feet or hands or sneakers on the body. Was this the work of the man in the van? Hmm. Either way, a lawyer named Florida Grange (Tiffany Mack) arrives to help the boys in their predicament.
Florida: “Dont underestimate mecause Im beautiful, Mr. Collins.”
Pic 2I love watching Hap watch Leonard and Florida pass the hot sauce between each other, putting a load on their food. Such a perfect look, as he tries to get himself a taste and they just keep on shaking the bottle.
After food they start picking through the mystery in their neighbourhood. Meemaw across the street offers what little help she can. Hap and Leonard keep an eye on Chester’s place from hers, and they also have a heart to heart about Trudy. In the morning they meet Reverend Fitzgerald (Dohn Norwood), who does a bit of preaching, though neither Hap nor Leonard are too interested in religion. He talks about Sodom and Gomorrah, fittingly foolish with a proud gay man at the table.
When Leonard goes over to check on his house, he finds Ivan (Olaniyan Thurmon), the kid who stole the ashes. He’s nearly dead from an overdose. Unable to locate the kid’s parents, Raoul convinces Leonard to take care of the boy for now in their place, to which he very reluctantly agrees.
One of the detectives goes to meet Hap at the garage where he works. He wants to know more about the sneakers they saw on the body. On top of that he’s suspicious of Leonard being a “darkie” and all. And you know are man doesn’t approve of that shit, so he dismisses the detective rather fast.
Pic 4Trying to dump Trudy’s ashes off a bridge, Hap drops the box in the river. Like the man he is he goes in after it diligently. Then he scatters them onto the water around him, soaking in Trudy, and strangely happy.
At home, Leonard puts Ivan to bed. When he takes the boys shoes off he sees his name written on them, similar to the BB on the red sneakers. Suspicious? Or nothing at all? Either way, right now Leonard’s being taken in by police. Great, now Hap’s going to have to get his ass in gear while his friend is locked up behind bars.
And outside the house sits the man in the van, watching. Who is he?


What a spectacular start to Season 2! Love, love, love this series. Lansdale’s writing, his characters, the atmosphere, it is all palpable in the adaptation by Damici and Mickle.

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
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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.
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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.

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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 dont know
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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. “Weve 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.

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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. “Youre 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.
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Stone: “Everyones got a cross to bear, Naz. Pardon the expression. Fuckem all. Live your life.”
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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
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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.
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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.

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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.

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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.

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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?

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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
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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?
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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.

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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. “Thats 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 isnt about Andreas life, its 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.
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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.

The Night Of – Season 1, Episode 5: “The Season of the Witch”

HBO’s The Night Of
Season 1, Episode 5: “The Season of the Witch”
Directed by Steven Zaillian
Teleplay by Richard Price & Zaillian

* For a review of the previous episode, “The Art of War” – click here
* For a review of the next episode, “Samson and Delilah” – click here
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John Stone (John Turturro) just wants his feet to get better. To the point of getting a UV light and shades, letting them bake under the rays for a while. At the very same time he’s juggling all the other aspects of his life. He talks to a class that includes his son, although nobody is able to really grasp his place in the legal world. His son is proud of him, to a certain degree, not happy with the treatment the class gives his father. Nice to see the family life of Stone. Gives us a dichotomy from which to work concerning his character, his ambitions, and so on.
Up in Rikers Island, Freddy Knight (Michael K. Williams) is taking care of Nasir Khan (Riz Ahmed), getting him into a proper cell and looking out for his well-being. What exactly is the price, though?
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We get to see more of a character I enjoy plenty, Chandra Kapoor (Amara Karan). She goes to see Stone about possibly helping. She’s got to not only haggle with him, but also witness his foot ritual. He manages to get an extra $10K out of her to take part. Meanwhile, D.A. Helen Weiss (Jeannie Berlin) has her troops in getting their case together. Detective Dennis Box (Bill Camp) is there along with a team of lawyers. They try to suss out what the defence may use against them. Back and forth we’re privy to each side attempting to pick apart the whole murder, the night in question, everything possible.
I love Chandra because the writing allows for this racial perspective; one which obviously includes Naz and his race, his religion. This opens up a lot of interesting things.
There are problems with the Khan family on the outside. Salim (Peyman Moaadi) is being pressured by his partners Tariq and Yusuf (Mohammad Bakri & Nabil Elouahabi) to press charges against his own son. All in order to recoup the cost of the taxi they’re now missing because of the trial. This is putting poor Salim in an awful place.
In jail, Naz is keeping himself fit, doing push-ups in his cell. He’s called out by guard Tino (Lord Jamar) to go meet Freddy in the showers. They’ve got Calvin Hart (Ashley Thomas) at their mercy for what he did to the young Muslim. When Naz is goaded, he eventually kicks the shit out of Calvin already lying bleeding on the floor. Already the prison system is changing Nasir, if only slightly. I mean, we’d all probably do the same thing given the situation, what that man tried to do to him. Still, the point of Richard Price’s writing is to see how the prison system is a jungle in and of itself, and how exactly it affects those within it.
All the while Dt. Box puts together a timeline for Weiss on the locations of Naz throughout the night of the murder.
What you need to pay attention to most is the filmmaking here. The close-up shots of Box marking off a map of the city cut with the actual instances of Naz moving through the city itself are magnificent. This is why HBO and many of the writers the network attracts are top notch. Because this is a simple sequence, yet it’s beautifully executed and effective.


Stone is changing, too. It isn’t just Nasir. We see that more every episode. He finally goes back to get the cat from Andrea’s place, the one he brought to the pound. He’s allergic, though still insists on saving it: “Better than the gas chamber,” he mumbles to himself. This is more than a basic little quirky plot point. It is the idea that Stone can’t let go; not of the cat, not of Naz. And gradually he’s becoming altruistic rather than totally selfish. Not entirely, just little by little.
And Freddy, he sees something in Naz. The young man sleeps away, and up in the hospital Calvin suffers from his injuries. There’s definitely rage in Naz. Not long after he shaves his head to get that prison look going. Seeing the jail life ahead of Naz is a bit tragic. He’s slowly falling into things, hanging out with Freddy and his crew smoking weed, playing chess, eating Happy Meals from McDonalds.
Weiss is beginning to weed out witnesses. Trevor Williams (J.D. Williams) is so effortlessly shown as childish, both in how he answers questions and the way he’s brought a cookie and some milk in during the interview. I hope we’ll see more of him because we all know there’s a greasiness behind his motives.
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At a restaurant, Stone starts investigating a few things himself. He tracks down a guy named Cutty (Joe Egender) who was contacted by Andrea the night of her murder; she got some ecstasy and ketamine off him. Mostly, John pokes around trying to stir something, anything up. Afterwards he’s with Chandra having a look through the crime scene. They have pictures taken everywhere, of every last little thing. In the blood spattered bedroom, Chandra is silently shocked at the mess. They make sure to document each inch of the apartment. The tiniest details can crack a case wide open. When their man Dr. Katz (Chip Zien) comes across a possible clue, it’s all the better. Likewise, Weiss is trying to make her case. But we start seeing how the law and justice aren’t always working for the greater good. With a Medical Examiner, she begins coaxing out the proper story the way she wants it told. Tricky, tricky.
The hubris of being in Freddy’s care is starting to make Naz a little cocky. He’s already feeling the benefit, but perhaps a bit too much. Well, now Naz is figuring out there isn’t exactly no price for protection. He’s got to swallow some drugs, get them in for Freddy from a woman who’ll be hiding them… you know where.


The toxicology report comes back. Everyone’s surprised about amphetamines in Naz’s system that night. Chandra is particularly surprised, not enjoying having been lied to, supposedly. He’s the “good boy” everyone imagined. Simultaneously, Naz is behind bars trying to learn how to swallow drugs using grapes. When John and Chandra go to see their boy, he’s not happy to hear they don’t believe him. Turns out Adderall is what Naz lied to them about; he took it for purposes of studying. The whole time John is asking about Naz’s story, the young Muslim reluctantly swallows the drugs to bring Freddy. John isn’t stupid. He recognises what is going on and cautions his client. Things are getting pretty god damn dangerous right now for poor Nasir. He gets the drugs in, even if he has a bit of trouble passing them.
What John and Chandra do get is the revelation of a second man with Trevor Williams when he ran into Naz and Andrea. So this sends Stone out to talk with the man. He puts a bit of fear into Trevor about perjury, hoping to determine who the second man was that evening. We find a sliver of honesty: the second man’s name is Duane Reid. Further putting John on a search throughout the streets. He comes across Duane in the back of a supermarket, then plants the seeds: “Im his lawyer,” John tells him in regards to Trevor. Of course the guy takes off. Now, this arms the lawyer with bit more of an idea about whether Naz might be innocent after all.
Only John is too eager, putting him in harm’s way after Duane runs and he gives chase. Hopefully nothing bad happens. However, just like the stubbornness of John with his feet, the stubborn nature of how investigates his latest case may prove detrimental to his health if he doesn’t slow down.
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Just a downright gripping episode. One of my favourites so far in the series. Such great storytelling combined with wonderful filmmaking technique. All around outstanding!
Next episode is “Samson and Delilah” – can’t wait to see how the significance of that title comes into play.