Tommy and Oswald get deeper into bed. But other, more dangerous things are happening, too.
Peaky Blinders – Season 5, Episode 5: “The Shock”
Tagged Radiohead
Happy! – SEASON 2 FINALE: “Resurrection”
Nick and Amanda have to help their daughter before she kills Sonny Shine.
Mr. Mercedes – Season 1, Episode 7: “Willow Lake”
Bill enlists Jerome and Holly to help with Olivia's computer.
Meanwhile, a tragedy occurs.
The Path – Season 2, Episode 13: “Mercy”
When Cal challenges Eddie trying to convince him he isn't ready to lead, the latter responds in an audacious way. At the same time, Sarah struggles with who she really wants Eddie to be.
Legion— Chapter 5
When David heads to D3, he leaves a trail of dead bodies in his wake. He not only discovers things about himself, Dr. Bird & the team likewise uncover his darkest secret.
Westworld – Season 1, Episode 6: “The Adversary”
HBO’s Westworld
Season 1, Episode 6: “The Adversary”
Directed by Frederick E.O. Toye
Written by Halley Gross & Jonathan Nolan
* For a review of the previous episode, “Contrapasso” – click here
* For a review of the next episode, “Trompe L’Oeil” – click here
Maeve Millay (Thandie Newton) is honestly my favourite character in this entire series. He struggle comes as intense; this episode is no change. She walks through a day not noticing men shot around her, not noticing all the horror of Sweetwater. “Fake Plastic Trees” by Radiohead plays on the player piano in the saloon. Maeve and Clementine Pennyfeather (Angela Sarafyan) talk their dialogue, they drink their drinks, they go about the programmed day, as “newcomer” guests show up for their various adventures and paid storylines. When Maeve takes one of them upstairs for a romp in the sack, taunting him when he’s unable to please her. She puts his hand around her throat though, and it’s a different story. She welcomes it, wanting to die. All to wake up out on the table in the lab, the technician in front of her.
At the same time, Elsie Hughes (Shannon Woodward) talks with Bernard Lowe (Jeffrey Wright) about her recent discovery. The hosts at Westworld are being used for “industrial espionage” and now things are getting dicey. Seems that the host who went berserk on Elsie is an older model. However, this requires Bernie to head downstairs – Floor B82, strictly confidential with tight security. It’s a sketchy-looking place, shaking lights, old computer systems. Lowe gets into things comparing data to find an anomaly. Not only that, there are others. Hosts which “aren‘t registered with the new system.” So what exactly are they all doing? And how long until something worse than what happened with Elsie happens?
Dr. Robert Ford (Anthony Hopkins) freezes the little Mexican town, having a gawk at his real estate and planning for new, big things. A simple “carry on” and everything gets moving again; an entire world built on his command. He notices the carving of a maze on a table nearby. Cut to his office, full of host faces and all kinds of interesting little things. Ford has a sketchbook, containing lots of drawings, including one that looks to be who I assume is Dolores Abernathy (Evan Rachel Wood), as well as a house, his church, so on.
But most importantly? The maze.
Elsewhere, The Man in Black (Ed Harris) rides with Teddy Flood (James Marsden). The latter tells his new buddy about the maze being a Native American myth, involving a man who can’t seem to die that eventually builds a maze only he can solve. Interesting; sound like somebody? Poor Teddy only wants to find Dolores.
The technician talks with Maeve about her character, what she was made to do as a host. He tells her there’s a distinction between being “born” and being “made” and that there’s also little recognisable difference between humans and hosts. Except hosts are terribly smart. When they’re controlled. What I dig is that Maeve seems outside of that control, somehow. The technician pairs his device with her to show the process of what she’s said, the way the program assigns her dialogue, shows her entire thought process and where improvisation happens. Then suddenly it overloads her mind and it looks like there is trouble. After a bit of programming he brings Maeve back. Problem is she wants to see what’s outside the lab. She witnesses the entire operation, the washing of the bloody host corpses, the moulds of the hosts being created and pumped full of blood, the skin coming alive; a truly gorgeous sequence yet sad in tone. Amazing stuff. We, alongside Maeve, get to see the animals created, life made at the hands of technicians and other robotics. Then further on are the simulations where hosts are programmed to their specific roles. What Maeve sees is her literal entire existence fabricated before her eyes. After she witnesses a commercial, seeing herself there onscreen, they head back downstairs. How will this ultimately affect her? Will she remember more? Well, right now she winds up taking hostage the other technician who shows up threatening to bring his colleague to QA. She… changes his mind.
Theresa Cullen (Sidse Babett Knudsen) brings Bernard to the attention of Dr. Ford knowing they’re together. She decides their “indiscretion” is finished. She accuses him of an inability of being impartial, with everybody including Ford. Sort of cold. Brings to mind the idea of the difference between human beings and the hosts: the hosts are a lot less cruel, even the worst of them, than the humans. I feel like Theresa is someone that’ll go off the rails soon enough. She feels highly reactionary as a person. We’ll have to wait and see. She goes to see Lee Sizemore (Simon Quarterman), who’s on leave, complaining about Dr. Ford and his latest work which has displaced hosts. There’s venom in Theresa, as she doesn’t make any better friends with anyone, continually fighting to stay at the top. What’s she going to do to stay there?
Back with Black and Teddy, they’re on the search to locate Wyatt. They use a couple soldier uniforms and pass through a camp, where Wyatt’s left his bloody mark. Along the way someone recognises Mr. Flood and pulls a gun. This turns into a nasty situation for the pair of gunslingers, even Black can’t hold off that many soldiers.
Lee lounges and meets a woman. After a bit of chat she questions him about “control” and he, in a drunken state, goes off about the whole thing being a “vanity project.” The bar cuts him off by request of Ms. Cullen. I feel like that lady at the bar will turn up again.
Elsie wants Bernie to keep helping her with heading off the espionage happening with the hosts. She wants to use the whole thing to get herself ahead. I feel for Lowe. He seems to be consistently stuck between a rock and a hard place. He heads in to a place labelled Sector 17, full of trees and fields. He soon tracks down a house where he sees a man picking up a pile of wood from out front. Inside, he comes across a man and his family. He can’t seem to control these robots, either. They only respond to Dr. Ford, who shows up quickly. “Survivors of the wreck of time,” he tells Bernie; they are “first generation hosts“. Ford gives his friend a tour around the robotics, which is pretty damn awesome visually. This was a vision built by Arnold, one from the memories of Ford’s childhood. Something the doctor worked on over the years. And all of it makes Lowe wonder. But can’t he understand? Surely he can, someone in a way seeking methods to reignite the past. Maybe seeing those things in another person makes him realise how foolish and possibly dangerous they can become. This all sends Lowe on a quest to find out the names of first generation hosts out there.
Teddy’s about to get branded. He remembers himself walking through a town with Wyatt, killing everyone in sight. Then he and Black make their escape. Teddy ends up on the machine gun, again killing everyone in sight. He makes The Man in Black look like a kitten: “You think you know someone.”
There’s espionage going on from within. Elsie reports to Lowe, and he starts worrying about her safety. Uh oh. I like her a lot, she’s smart. That probably means nothing good, for her. Looks as if the high tech futuristic technology can be undercut by older, less traceable technology from previous systems. And who’s the culprit? Is Theresa behind it, or somebody else entirely? Elsie traces a signal to find a relay setup by whoever’s doing the spying. It takes her to a musty old room filled with artefacts from other stories Westworld likely tried once upon a time. There she manages to open a box where the relay provides her – hopefully – good information.
Bernard goes to see Theresa about some of the things he’s stumbled upon. He tells her about his doubts re: Ford. He gets a call from Elsie, confirming Theresa as the spy. Ah, I fucking knew it! I knew it! But I’m concerned for Bernard.
With the technicians, Maeve tries to make a couple changes to her character makeup. The greasy technician tries talking her out of it, but she’s aware of other options due to her new relationship with the other technician. She does get her “alterations” and I’m quite interested in what’s about to happen next. The technicians see there’s somebody else already making changes to Maeve. Someone higher up. Nevertheless she convinces the technicians to make her more perceptive, less receptive to pain. Oh, my.
More info from Elsie. It isn’t only Theresa. Someone else is retasking hosts, old models specifically. Big time modifications to “prime directives” that could possibly allow violence from hosts against guest. Who does she believe did it all? Arnold. Motherfucking Arnold. How’s that possible?
In a lab Ford has the young boy from his host fantasy world answering questions. It’s, in fact as I’d imagined, a young version of himself. Little Robert. He killed an animal, which disturbs the older version. “A voice” told him to do it. It was Arnold.
Just as I suspected, Elsie finds further and probably damning evidence. Yet someone’s lurking in the shadows, now they’ve got her.
This was another solid episode. Plenty of intrigue that I find exciting, plus they’re never giving up too much. Bits and pieces with every chapter. Next is titled “Trompe L’Oeil” and it’ll be of interest to see particularly what goes down when Maeve heads back into Sweetwater all pumped up. Yowzahs.
Westworld – Season 1, Episode 2: “Chestnut”
HBO’s Westworld
Season 1, Episode 2: “Chestnut”
Directed by Richard J. Lewis
Written by Jonathan Nolan & Lisa Joy
* For a review of the premiere, “The Original” – click here
* For a review of the next episode, “The Stray” – click here
Poor old Dolores Abernathy (Evan Rachel Wood). A voice tells her to wake up, asking: “Do you remember?”
Cut to William (Jimmi Simpson) on a futuristic-looking train. A friend of his makes a quip about his sister having rode her “share of cowboys” while at the resort. So William is headed for a nice vacation stay. Or will it be? A guide brings William through to get ready for his adventure. You can tell already that he’s got a slight problem with the place.
Elsie Hughes (Shannon Woodward) and Bernard Lowe (Jeffrey Wright) talk about Dolores’ father having an “existential crisis” and how they’re going to fix it. She wants to make sure this episode won’t spread to other robots. That it may be infectious, as it were.
Well, Dolores, she keeps on keeping on. Yet all of a sudden that voice again – “Remember” – and she stops. Dolores sees a vision of people read in the streets, everywhere, screams in the distance. A wolf runs through the middle of the road. Dolores once again quotes her father, and Shakespeare to a baffled Maeve Millay (Thandie Newton). Uh oh. Is that the phrase which triggers the illness in the hosts?
“These violent delights have violent ends.” (Romeo & Juliet)
Inside Westworld, William and his buddy Logan (Ben Barnes) start experiencing the immersive thrills. It seems like Logan’s got lots of love for the place. He believes the resort reveals your true self. So, who is William exactly?
On a ranch, a man named Lawrence (Clifton Collins Jr.) is about to be hanged. Up turns The Man in Black (Ed Harris). He seems to not like the idea of a hanging today. A gunfight breaks out, naturally, and you know who comes out on top of that one. Bodies lay everywhere at his feet; is he the cause of all those bodies that Dolores saw? For now, The Man in Black tells Lawrence he’s going to help him discover the “deepest level of this game.” Although the bad dude enjoys killing, he’s there for something far bigger than murder.
Another great player piano cover: Radiohead’s “No Surprises” rolls on in the background. Maeve runs her sweet game on a client, telling tales of romantic intrigue. Then, the host in her glitches. She remembers a violent scene of Native Americans attacking people, blood, scalping. Quickly, the engineers have Maeve pulled out, callously talking about her like there’s nothing human inside. There is – there has to be – and still, they’re robots.
Bernard and Dr. Robert Ford (Anthony Hopkins) talk about Dolores’ father and his glitch. Lowe believes something else must’ve gone wrong other than him looking at that picture. The doctor tries assuaging his fears. A little cryptically. He also relays the idea that they essentially dabble in witchcraft. That if they did these things hundreds of years ago, they’d be burned at the stake.
Finally arriving in town, Logan and William see the sights, as the latter gets acquainted with things in Sweetwater. They briefly encounter Clementine Pennyfeather (Angela Sarafyan), a drunk, and Logan explains how it’s all part of the game. Every host has an adventure or story to sell you.
Out for a bit of maintenance, Dolores speaks with Lowe. He analyses her, asking specific questions to see if there’s been any tampering. He keeps telling her that they ought to keep their little chats between them. “Have you done something wrong?” Dolores asks. Lowe swiftly erases their conversation on the log and ends their conversation. Hmm.
Maeve is back in business, no glitches or problems like before. She’s up and running just fine. Except Clementine, she also complains about having bad dreams, trouble sleeping. The head mistress makes sure Clementine goes back to work, but Maeve keeps on having those visions. To the point Teddy Flood (James Marsden) notices nearby. Now it looks as if Stubbs (Luke Hemsworth) and his team outside have marked Maeve for decommissioning. That’s really sad.
Meanwhile, Lowe chats with Theresa Cullen (Sides Babett Knudsen) about the goings on at the company. She’s had an especially rough day. They get on about updates, upcoming events. He says things are “back to normal” yet I’m not so sure. Even worse, Theresa refers to their customers as coming in to “rape and pillage.” Yikes. Know your market, I guess.
During dinner that evening William gets a visit from the drunk he’d helped in the street earlier. Logan gets pissed off, no time for fucking around with their game, and puts a fork into the old guy’s hand. The sight of the blood alone is enough to turn William off from it all. Logan’s more interested in having some weird sex with the host prostitutes. William isn’t so thrilled about all that, he has a lady at home.
Lee Sizemore (Simon Quarterman) is in the workshop getting a new narrative ready. He’s a bit of a psycho, too. Uptight and genius-like. Cullen tries to make sure he’s on budget, though it seems he likes doing things his own way. Whatever works.
We find out that Dr. Ford of course has his own little elevator into the Westworld interior. He heads through the desert and comes across a young boy, one who could almost be him years and years ago. They head off for a walk together.
Back to The Man in Black, stringing Lawrence along through the desert. He’s brought him to a little Mexican cantina. Turns out Lawrence’s family is there, a wife and a daughter. “The real world‘s just chaos, an accident. But in here every detail adds up to something,” The Man in Black explains. He wants to find the entrance to “the maze.” That labyrinth from the scalp tattoo. Soon, the violence erupts. Outside we see Stubbs make a remark about The Man in Black getting whatever he wants. Afterwards, the bad, bad dude takes out a gang of Mexican men hoping to help Lawrence. No such luck. Things get a lot worse for Lawrence before they get any better. And now se know that The Man in Black is in this trip for the long run.
Side note: Ed Harris is a god damn bad ass, which I knew before, but GOOD LORD! Westworld is bringing out his quality acting, as well as his nasty nature. Dig it.
The Man in Black: “When you‘re suffering, that‘s when you‘re most real.”
Out on the desert plain, Ford and the boy come across a rattlesnake. The doctor stops it in mid movement, commanding its movements. Control over every aspect of his created world. In the distance is an odd structure with a cross on it. A church? Or something far different?
Lowe heads back to his futuristic, cosy little apartment. Awhile later Cullen comes to his door to apologise for their bit of an argument. Oh, and they’re lovers. I actually hadn’t seen that coming already. They don’t do much talking, more lying in bed and such.
In the maintenance room, Elsie takes a look at Maeve. She works on the madame’s qualities, to make her more emotionally perceptive. We find out that the hosts are given “the concept of dreams,” which often comes in the form of nightmares. Elsie believes she’s got Maeve fixed up. Back to the whorehouse floor with her! A tragic life. She recites her lines, this time with more emotion than hardness. Everything in its right place. She winds up talking to Teddy along the bar, who sees right through her act. Oh, the life of the hosts. Teddy then gets murdered at the bar viciously: “Now that‘s a fuckin‘ vacation,” yells the guest.
This takes Maeve back to memories, dreams of another life. She sees herself on a farm with a little girl, her daughter. They run and play, as if they were actually happy. Only those moments bleed into those of the Native Americans attacking, nearly scalping her. A terrifying massacre, ending with The Man in Black walking through her door, impervious to her gun’s bullets. She wakes before any further bloodshed.
Some surgeons work on Maeve’s inside parts, removing bad bits. Except she comes to while being worked on, pulling a blade on the men. They try calming her back onto the table. Not good enough. She escapes into the darkened halls of the Westworld facility, trying to find somewhere to go. She sees other hosts being taken apart, hosed down. It’s too much for her. The surgeons catch up and put her into sleep mode. But will any damage linger? Maybe they’ll just take her out of commission altogether now.
In the night Dolores wakes. She goes outside and finds a gun hidden in the dirt. What will she do with it?
Inside the facility, Lee is unveiling his latest narrative – the “apex” of the park’s attractions. He’s a very confident man. His new program is called Odyssey on Red River, an immersive experience to help people understand themselves better through a new Wild West journey. But Dr. Ford doesn’t believe it’s any good. He knows the true idea of the park, and that Lee’s narrative only reveals his personality, nothing about the guests.
So into the desert go Ford and Lowe. The doctor has something brewing – “something quite original” – and it has to do with that structure out there, with the cross on top. Almost looks like an old oil well structure combined with a church. Either way, it looks intriguing. And what does Dr. Ford have up his sleeve?
Loved this episode! Amazing follow-up to the premiere. Next is “The Stray” – really glad HBO served this up early before the Presidential Debate on Sunday. A true treat for us fans that were going to perish before then.
Peaky Blinders – Season 3, Episode 2
BBC Two’s Peaky Blinders
Season 3, Episode 2
Directed by Tim Mielants
Written by Steven Knight
* For a review of Episode 1, click here.
* For a review of Episode 3, click here.
After a whopper of a premiere, Season 3 keeps on ramblin’. Tommy Shelby (Cillian Murphy) is out taking meetings. He’s talking with Connor Nutley (Ralph Ineson) about a little business. He needs some keys, evidently to some storage. But you know it’s more than for a place to store a few things. Either way, it appears Nutley is reluctant to take money from a Shelby, Tommy specifically. He takes it, though.
And a little later, he ends up speaking to Father John Hughes (Paddy Considine), as the two sit and have a smoke. They talk of choosing sides, so on. And without a whole lot of effort, Considine makes Father Hughes and his talk of “little creatures” into an eerie sort of chap. I’m a fan of his for a long time now, but this is immediately an effective performance. Interested to see where this relationship goes from here. Hughes is a crooked priest with irons in the criminal fire, so there’s no doubt a further end to having a great actor like Considine playing the part. The tension between Hughes and Tommy is excellent, too.
Now I’m blown away. Because an excellent actor I didn’t realize was part of this season shows up – Jan Bijvoet, as Grand Duke Leon Petrovna. This character is also quickly intriguing. Seems things aren’t as lively in terms of social engagements and business asthe Duke had hoped. He’ll be an interesting addition to the cast, as well.
Arthur Shelby (Paul Anderson) and brother John (Joe Cole) are sitting for a meeting of their own. However, not everybody’s too happy living under the rule of Shelbys like Arthur and John. As much as Tommy can get psycho when needed, Arthur and John are most certainly a little less subtle, and perhaps a little less respectful, than their brother. Vicente Changretta (Kenneth Colley) ends up literally spitting at them, making clear they’ve gone too far this time. Nice tense scene that’s sure to bring about a little trouble.
I’m always interested in what Aunt Polly (Helen McCrory) is up to. Because as greasy as she can be like any of them, Polly doesn’t get enough credit. They often walk all over here. But then again, none of them are saints, so what does it matter? Regardless, she doesn’t back down, and always gets her two cents in. Despite getting ignored or flat out mistreated, Polly manages a degree of strength in her male Shelby dominated world. Except right now all she manages to do is rile up her son John over Lizzie and her messed up situation.
Meanwhile, Tommy is making sure he’s on the special list at a swanky hotel. He’s dining and chatting with the Grand Duke Petrovna, who for his part is a bit of a disgusting man eating and drinking and talking in unison. Petrovna makes a bit of a dirty remark about Russian women v. English women, one which doesn’t appear to strike Tommy as very funny. But they get on talking. The conversation has its… ups and downs, including the Grand Duke crushing a glass in his hand, so obviously stressed yet completely composed at once. Another really impressive scene, both in writing and in the execution of the actors. Of course we find out more about what happened in the first episode of the season, re: the killing of the supposed Russian. Now, there’s further business ahead for the Russians and Shelbys. Serious business at that.
And John, he’s busy kicking the shit out of people. That’s one thing that constantly drives the fear of the Shelbys is that they’re very up close and personal fighters. Yes, they use weapons, guns sometimes. But they’re mostly brawlers. This is part of why many fear them. They don’t have to resort to guns in the night, or at least not all the time. These are blokes that’ll take you on, head to head.
When the Shelby brothers come together, along with Aunt Pol, there’s problems over John’s actions. He listened to nobody, and now there’s hell to pay. All the same, Tommy will have nothing but solidarity. It’s his way, or the fucking highway.
The Grand Duke sees his Grand Duchess Izabella (Dina Korzun). This reveals the fact they’ve likely got sinister intentions within their dealing with the Shelbys. She says it’s possible he may have to kill Tommy, with his own hand. Something the Duke is apparently ready for, one way or another. But is he? Without the possibility of death, any show’s characters become stagnant. So while Tommy is strong, all powerful with a wide reach, there is always a possible murder lurking around the corner, an assassination close behind or being brewed in the dark corners of Birmingham, maybe even further than that. Yet what I know for sure is there’s a nice showdown coming for the Petrovna and Tommy.
At the same time, Tommy is giving his wife Grace (Annabelle Wallis) the sapphire Petrovna gifted him for the murder of the Russian (spy) from last episode. And he’s got so much to worry about now with a wife, the child, it’s more to be used against him. Aside from that there’s Arthur trying to fight his demons, aided by his overbearing wife Linda (Kate Phillips). It’s only a matter of time before something in the Shelby clan breaks, snapping like a twig. Violently, I would imagine.
More Radiohead in this episode with “I Might Be Wrong”, a personal favourite of mine out of their catalogue. We see Arthur out on “business” as he tells his wife. But really it’s shit kicking time. So put on your shit kickers. Although, give it to Arthur: he goes home like he said he would. Even if his brother isn’t happy.
Tommy gets scooped up by the coppers. Then up shows creepy Father Hughes with an equally unsettling dog to see Mr. Shelby in his cell. The priest brings news about having Scotland Yard in their pocket. Veiled and open threats at once. Except Tommy is a hard bastard. A fighter to the bone. The two stand toe to toe, might as well be butting heads. Still, there’s a scary element to Father Hughes: “We can reach anyone. Anywhere.” And this puts a proper spook into Tommy, who rushes home to find a further threat. Proving that Hughes and his people really can get to anybody. A highly unsettling moment. Both in its own right, as well as for the fact Tommy is such a powerful man and someone can still go above and beyond his grasp.
As things go on of which she has no idea, Polly is ready to be painted soon by Ruben Oliver (Alexander Siddig). These two are fast becoming a little romantic. Wonder how far that will go, or what more trouble that might get Aunt Pol into with her boys. Because you know there’s only so far happiness goes for her. Mostly it’s a bleak and dreary ride through life for her among the Shelby clan. “A woman of substance and class,” she repeats to herself in the mirror before a party, the words Oliver had said about her earlier.
And at the party, Tommy’s not pleased to see Father Hughes, along with MP Patrick Jarvis (Alex Macqueen). In the dark behind closed doors, the three meet, and Tommy smokes his way through another tense encounter. They discuss an upcoming job, a bit of business. And Tommy really has no time for anybody else’s shit. The MP and the priest have their own ideas about how things will go. Even with the force of their power against him, Tommy will not lie down and take it for anyone.
Tommy: “You know gentlemen there is hell, and there is another place below hell. I will remember everything, and forgive nothing.”
Tommy doesn’t want to bring Princess Tatiana Petrovna (Gaite Jansen) through for a factory tour while the place is being watched. Also, Princess Tatiana is a bit of a bitch. She even goes so far as to play on the whole gypsy angle, saying the sapphire from the Grand Duke has been cursed by one. So Tommy rushes to his wife, asking her to take the thing off.
But it’s too late. A man barges in through the crowd and takes a shot at the happy couple, hitting Grace right in the chest above her heart. As Tommy holds his bleeding wife, the other Shelbys beat the shooter, likely to death.
What a finish! Christ. I am sweating. Looking forward to the next episode, which will undoubtedly bring a ton of exciting developments. Much trouble on the way between the Irish and the Russians. Plus, plenty more amazing cinematography, acting, and lots of fun music. Stay tuned with me.
Peaky Blinders – Season 3, Episode 1
BBC Two’s Peaky Blinders
Season 3, Episode 1
Directed by Tim Mielants
Written by Steven Knight
* For a recap & review of the Season 2 finale, click here.
* For a recap & review of Episode 2, click here.
Longtime fan since the beginning, I’ve started up on my recaps/reviews for Season 3 of Peaky Blinders! So stick with me, fellow fans of the show. This has been a favourite of mine since its pilot.
The third season opens with a flash of 1922, as Tommy Shelby (Cillian Murphy) kneels ready to take a bullet. Before one of the men holding him at gunpoint shoots the others, letting him go. But with the stipulation that Mr. Churchill will request a meeting with him, at some point. Some day.
Cut to two years later, 1924. In a packed church, Tommy is ready to be married. All the Shelby clan is at the ready. There’s even a black priest, which amazes some onlookers from the more regal side of the church (Grace’s family). Grace Burgess (Annabelle Wallis) – soon to be Shelby – makes it down the aisle. Afterwards and forever more, the new Shelby family is whisked away to Arrow House in Warwickshire. Life is rambling on. Man and wife. Except there’s always a dark cloud looming over the Shelbys. Hard for anything to go right, so we’ll see how long the happiness lasts. I’ll bet not overly long before something comes up to make things difficult for Mr. and Mrs. Tommy Shelby.
The wedding reception is quite a trip. All the Shelbys are up to their own things, from Arthur (Paul Anderson) trying to make sure Isiah (Jordan Bolger) isn’t getting into the “snow“, while Aunt Polly (Helen McCrory) frets over the little things Tommy needs taken care of. A meeting is called for everyone in the kitchen, as Tom lays down the law: no bad behaviour in front of all the uniforms on Grace’s side of the wedding. Wicked little scene that has Cillian Murphy put on a damn good show, proving time and again his worth as an actor.
Tommy and Grace are at odds, though. He’s not impressed with all the red coats out there. More than that she knows he will always be a part of that dangerous world. Meanwhile, the angry behaviour Tommy shows is because he admits to her that it all scares him; worrying for her, the child, all of it. At least he’s honest. “Tell me what it is you‘re afraid of?” Grace questions him. To no answer. Until he jokes it off about being scared of the speech Arthur will be giving afterwards.
Out at the table, Polly and Lizzie (Natasha O’Keeffe) are busy trying to get away from the gaze of unwanted men. Well, at least Lizzie gets away. Anton Kaledin (Richard Brake) winds up weaseling his way in next to Polly. After a few moments, though, Polly warms up and they chat. Kaledin is a Russian there to do some business with Tommy it seems. And she’s not totally receptive, either.
At the same time, nervous Arthur gets his brother out of bed with his wife. Then he starts to drink. A little too much maybe. And Lizzie’s got her own problems, too. Except Arthur and John (Joe Cole) shut her down hard
Back to the table, including the bride and groom finally. Speech! Speech! Arthur gets up to do his thing, but everybody gives him a bit of a hard time. He gives a slightly emotional speech, which doesn’t particularly make Tommy so happy. He quickly interrupts his brother, awkwardness and all. This sends Arthur off, unhappy with himself. Tom and his brother have a chat about some of the inappropriate things during the speech. This starts a proper brother argument. What comes out is the business with the Russians and Tom’s need for his brother: “Fuck speeches. Fuck weddings. You‘re my best man everyday.” Inside, Polly’s serving as the go-between for Tommy and Kaledin. He reveals the code to set things into further motion: Constantine.
Kaledin is spinning a good game between all the members of the Shelby organization. Only Arthur particularly is a little too hard for that. So Anton comes face to face with Tommy. Pretty ballsy indeed for the Russian to make contact with him on his wedding day of all days; very Godfather-esque. Anyways, the business is being bandied about in the dark between the men. And as usual, Tommy stands firm: “This is our city.”
Love the interesting look at the early days of cocaine’s rise in popularity. All those rich, high class types looking for some snow to cut up in the back room. Classic. Things haven’t changed, not too much.
The party keeps on raging, despite all those little things happening behind closed doors. Grace lays it all on the line with Polly, telling her how she now knows everything. This does not make Polly happy – further and further she finds her power slips. Although, she is tough. No telling what she could get up to in order to secure more power.
Tommy promises a degree of safety from his business to his new wife Grace, their child. But is that really a promise the man can keep? Not so sure about that. Because as his wedding goes on there’s business afoot. Apparently, Anton gave the wrong code when asked. Now Tommy is meeting Princess Tatiana Petrovna (Gaite Jansen). “No variations,” says Tommy in regards to Churchill’s own instructions. No taking chances. The business gets worked out, but on shaky grounds. Nevertheless, Tommy’s always confident even if Arthur is pissed off. He lays the deal down for his older brother. For now, things go along.
I have to mention the cinematography of Laurie Rose. He is fascinating. Everything here is draped in shadow, which matches the plot, as everything sits below the surface, under cover of darkness. So well done, and a great addition to this third season in terms of its crew.
Arthur is the one who ends up with the gun in his hand. He finds Anton saying there’s a woman to see him. Simultaneously, Tommy tees the band up for a big number, as the party really kicks up a notch. Lots of noise. You see?
With Arthur leading Anton outside the atmosphere is ominous. Right as the oldest Shelby takes action. Outside, Tommy watches on as fights are punched out in a circle, one red coat vs. one of the Shelby organization. And Arthur fights, too. For his life. He and Anton go tooth and nail. A wonderfully edited sequence with so many things going on at once. The intensity rises from one second to the next until the gun goes off with a hard bang.
And while wife Linda (Kate Phillips) believes her husband Arthur’s only trouble is trying not to drink, worrying about his flubbed speech, the man is left with the burden of guilt over a cold blooded murder he only just committed. A horrible, tense situation for Arthur.
A great little finale to the episode with Radiohead’s “You and Whose Army?” playing throughout. The Shelby organization is running smooth, the body of the Russian burned and gone now. Everything’s on the right path, eh? Well, we’ll just see about that. On the verge of a robbery, Tommy has got more confidence than ever. Hubris? Or just a bad ass with everything in its right place?
Stay with me. Can’t wait to watch the next episode. Loving this season off the bat!
