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MIRROR MIRROR II now back in stock
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I’m happy to report that Julia Gfrörer and I once again have copies of our horror/erotic/gothic comics and art anthology Mirror Mirror II available for sale at her Etsy shop. It’s an absolute murderer’s row of artists; if you like our sensibilities at all, you’ll like this book.
With work by:
Lala Albert
Clive Barker
Heather Benjamin
Apolo Cacho
Trung Lê Capecchi-Nguyễn
Sean Christensen
Nicole Claveloux
Sean T. Collins
Al Columbia
Dame Darcy
Gretchen Felker-Martin
Noel Freibert
Renee French
Meaghan Garvey
Julia Gfrörer
Simon Hanselmann
Aidan Koch
Laura Lannes
Céline Loup
Uno Moralez
Jonny Negron
V.A.L.I.S. Ortiz
Claude Paradin
Chloe Piene
Josh Simmons
Carol Swain
‘The White Lotus’ thoughts, Season Three, Episode One: ‘Same Spirits, New Forms’
The theme song for The White Lotus is, or was, musical cilantro. Created by Cristobal Tapia de Veer for writer-director-creator Mike White’s anthology series’ first season, then tweaked in a Mediterranean direction for Season 2, it is, or was, chirpy and screechy and unlike anything else on television. To many people, it’s the banger theme music of the decade. To my ears, it was basically unlistenable.
In this sense, the theme matched the show it accompanied. The White Lotus is, or was, a cheaply cathartic satire of the rich and useless, inviting you to pull up a chair and have your mind blown by the fact that wealthy, attractive people are often, get this, huge assholes. (Glad you were sitting down, aren’t you?) The beautiful resort-hotel settings — not to mention White’s obvious, infectious, seemingly out-of-character love of filming nature, especially water — distinguish it somewhat from your average anti-capitalist dramedy, but it’s still basically just Succession: Hawaii Nights.
When what to my wondering ears should appear but a whole new theme song! It’s less abrasive, and I suppose fans of the original, uh, “melody” will miss it, but it’s just as propulsive, and its ominous, bassy synth washes toward the end suggest both depth and menace. Based on this initial episode, the show may be following suit. It’s weird to say a filmmaker as accomplished and acclaimed as White has finally found his sea legs, but with this particular project it may well be the case.
I’m covering The White Lotus‘s third season for Decider starting with my review of the season premiere. For the first time, I really liked it!
“Yellowjackets” thoughts, Season Three, Episode Two: “Dislocation”
Two of Yellowjackets’ greatest strengths are on display in this week’s episode before five minutes have elapsed. The first: This show has long offered viewers some of the gnarliest self-applied field surgery the small screen has ever aired. Here we have Mari, her knee dislocated after a fall into Coach Ben’s trap, following his advice and shoving her grotesquely out-of-whack kneecap back into place. It’s the kind of scene that makes you say to yourself “It’s only make-believe,” for all the good it does you. Like all of the show’s makeshift amputations and childbirths and facial reconstruction surgeries before it, you know it’s not really happening, it’s just very good practical effects, but that doesn’t stop you from feeling it in your own bones. It’s great stuff.
So too is the opening credit sequence. With its eerie and aggressive theme song by Craig Wedren and Anna Waronker (of ’90s alt-rock bands Shudder to Think and that dog. respectively) and its distressed VHS aesthetic courtesy of Digital Kitchen art directors Rachel Brickel and Peter Pak, it towers above an opening-title landscape that’s been dominated by “shapes of familiar things morph into shapes of other familiar things” for what feels like a decade. Honestly, it may be almost too good, as it promises a level of anxiety and terror that the show only occasionally aims for or achieves.
Actually, we can throw in a third strength of the show: At no point is it ever digitally color-graded into a bluish haze or a gray-purple murk or a ghastly teal-and-orange mailman-with-a-fake-tan color palette. When you see these kids out in the woods, it looks like they’re in the woods. When you see these grownups out and about in the ‘burbs, it looks like they’re in the ‘burbs. There’s light and shadow and contrast. I’m not saying the cinematography is spectacular, but it’s not meant to be: It’s meant to be legible, to be a reliable delivery mechanism for the story being told by Ashley Lyle, Bart Nickerson, Jonathan Lisco et al are telling. It never distracts, and that really is an achievement. (This is admittedly a bugbear of mine, but the aquamarine nighttime of True Detective Season 4 and the bright orange nighttime of The Penguin broke something in me.)
‘Yellowjackets’ thoughts, Season Three, Episode One: “It Girl”
Yellowjackets has always thrived when it tears out its own heart of darkness and holds it beating in front of the audience’s face. This is what’s always made the material about the teenage soccer team stranded and starving and going insane in the woods more compelling than the material about the messed-up middle-aged women having zany murder hijinks played largely for laughs. The strength of the adult cast, cleverly (though not entirely, which has always been weird to me) made up of former teen actors Melanie Lynskey, Juliette Lewis (RIP Natalie, we miss you girl, they really should have dyed your hair blonde so you’d look more like Sophie Thatcher), Christina Ricci, Lauren Ambrose, and Elijah Wood, disguises the lopsided nature of the drama somewhat, but only somewhat. As fun as, say, Ricci’s performance as adult Misty, the world’s perkiest sociopath, can be, I’d much rather watch her teenage self react with shock and grief to her first kill than her adult self react with quirky neurotic cheer to her third or fourth.
“Severance” thoughts, Season Two, Episode Five: “Trojan’s Horse”
Tramell Tillman’s work as Milchick is really extraordinary, isn’t it? To be blunt, this kind of self-consciously quirky character would normally make my skin crawl with cringe, but Tillman makes his every throwback styling choice, every unnecessarily stiff and formal sentence, every bit of tendentious bullshit, every deeply weird thing he does (including authoring the entire “kindness reform” for the severed floor) feels like the product of a three-dimensional (if cartoonishly deranged) person’s mind. Contrast this with Patricia Arquette as Cobelvig, a collection of Disney-villain quirks that never congeals into anything solid.
“Paradise” thoughts, Season One, Episode Five: “In the Palaces of Crowned Kings”
Stop me if you’ve heard this one before: Using a populist ignoramus who inherited everything from his daddy as a catspaw, the richest person alive takes over the federal government. Paradise is the show that dares to wonder what would happen if this far-out, science-fictional, dystopian scenario were ever to come to pass. Fortunately, It Can’t Happen Here, right?
In a Lightless Land
They burned the horses at dawn. Word had traveled fast in the city, and by the midnight break everyone knew what was coming. Wagons rolled out of the mines, the oil barrels glinting in the moonlight, headed for the Temple of Pain. With no recent skirmishes to speak of it wasn’t going to be a matter of prisoners, and even internally there was an unspoken but pervasive sense that too few people had been brought in for the question to fill the arena’s basin. Eventually someone—it could have been Bowd; it usually was for this sort of thing—recalled overhearing a troll who complained about lugging cages around for the expeditionaries. Something about a great herd, too. Animals, then, wild animals. They hated the animals. They hated anything that grew wild.
As daybreak approached Vik was holding her right hand in her left, like she always did by the end of the worknight. Carving the spiral sigil into the wooden shields was once something she dreaded, and after that something she took a perverse sort of pride in; now it was just drudgery, numbing to the mind and brutal to her hand. Her leg hurt, too, a powerful ache that traveled from her right foot up through her calf and thigh until it nestled in a knot below her ass. Attending the burning would give her a chance to walk off the pain before the daybreak cease, she thought as she tidied up her workspace. Even sitting on the stone rows allowed her to shift her weight off her right side. It was something to look forward to at least.
She fell in line with the other humans in the street, their faces flickering in the torchlight as they streamed toward the Temple. Orcs were out in force, baying and guffawing. They knew what they were in for. Vik saw a sizeable group of trolls, too, scaly knuckles dragging against the dirt road.
But it was the presence of ogres that frightened Vik the most. Ogres, bruise-yellow and black-eyed, towering into the sky. For ogres to interrupt their ceaseless searching—this was a surprise. They didn’t usually turn up for a burning, not unless called by the Higher Ups. That meant there’d be Higher Ups in attendance, Vik realized, and more than just the Vortex Wizard at that. Her nerves spasmed.
Her group were nearing the building now, a massive circle of black stone rising high above the ground, higher than any other building in the city. Fire glimmered in each of its windows, through which the hum of the already assembled crowd could be heard. The flaming spiral above the gates hurt her eyes if she looked at it, so she looked down. The dirt beneath her feet was the same color as her dress.
There was much of the usual shoving and pushing and roaring as the queue became a crush at the bottleneck. Vik let herself be pushed this way and that. Everyone was going to the same place. Why fight it.
Minutes later, as the sky began to lighten above, she was seated in a row distant from the center. She looked around and saw no one she knew well. That was fine, maybe even good. They didn’t want you getting close to people, not even your workmates, though they couldn’t stamp it out entirely. The Servants’ vicious camaraderie proved too much of an example for the humans not to emulate. Some Wizards, Vik had heard, even took this as a point of pride. The Vortex Wizard was not one of them.
Vik looked down across the basin. There he was, short and bald and small in his armor. His face was an unreadable mask, rendered illegible by the spiral tattoo that matched the engravings on every steel plate. With a shock, Vik saw he was not seated in the central throne. He was not alone in the Master’s Box this time. The Blue Wizard, whose skin and hair matched the azure hue of his robe, he was there. Vik recognized the Wizard of Knives, the Water Wizard in his tank—awkwardly crammed into the box; someone would pay for that—and the Ash Wizard.
But the tall, thin figure in the black robe, with his long hair and full beard and gnarled, peeling hands—he was new to her, to this place, but he could only be the Wizard of the Wastes. For him to be here, so far from the blasted lands, was a surprise. No wonder the ogres had come, Vik thought. He knows their names.
A portcullis at the opposite side of the Temple rose, and suddenly the arena was full of the sounds of horses. They were panicked, terrified. Vik watched as troll handlers, their muscled arms glinting green in the torchlight, beat the animals forward. If one bit or kicked, they were bit and kicked back. One troll got fed up, grabbed a horse’s leg, and snapped it in two. The bones hung together by muscle and sinew. He picked the horse up and threw it forward. It landed in the basin, where the oil waited, its fumes giving Vik a headache. Even as the rest of the horses were forced inward Vik watched the one the troll had tossed as it screamed and struggled. Not long, though: Once it got tired it couldn’t keep its nose above the level of the oil, and it drowned. Lucky.
One of the wizards was speaking. The Vortex Wizard; it was his Temple. Probably he was welcoming his honored guests. Vik clapped when everyone clapped and that was good enough. His whispering voice, amplified by magic, proclaimed this a great day, the day when the last of the free herds of the darklands would be put down. The smoke from the burning would blot out the hateful sun as the flames made mock of its cursed illumination, and all would know what the People of the Spiral had done to honor the Sorcerer.
Death to the Bastard Sun, roared the Servants. Death to the Wild Green, responded the humans.
A huge troll, its body resinous with burned tissue, strode to the box and handed a torch to the Wizard of the Wastes, the highest of them. With a nod to his host he tossed it down into the basin. It bounced off a horse’s head and into the oil.
The conflagration was immediate and the result unbearable. The horses screamed like men, eyes rolling, mouths frothing in agony. Their manes and tails went up like candles. Those that could still move trampled the fallen further into the flames before going up themselves. The smell was vile and also enormously appetizing. Vik’s stomach leaped and it took all she had not to vomit. Others were not as lucky, and there were orcs pointing at them, and the trolls were bellowing, and the ogres gazed in silence.
She looked away, back at the basin, back at the last of the great herds as it died. She looked to the sky, reddened now from the rising sun, darkened now by the smoke of the burning. She looked at all the Servants, the orcs and trolls and werewolves and the vampires behind their shaded glass. She looked at the Master’s Box, at the Vortex Wizard and the Blue Wizard and the Wizard of Knives and the Water Wizard and the Wizard of the Wastes. She looked at all of these telepaths and conjurers, these necromancers and elementals. She even, for as long as she dared, looked at the ogres.
She looked at them, and she hated them, and as the burning died down and the chants ended and she shuffled her way down the row and down the stairs and out the gate and through the streets and into her cell to wait out the day alone with the stink of death on her, she wondered why they had not killed her yet. Their hammers rose; their hammers fell; they would fall on her someday, she knew, but when they did they would crush her body but not her hatred. Her hatred would live on because she knew she was not alone, she could not be alone, it was impossible. Her hatred would leave her battered body and take root in another’s. She would be like a demon, a demon who yearns for life not death, for laughter not screams and not chants and not tears. Incorporeal and eternal she would one day look through other eyes and see the sun.
—originally published March 13 2020, revised Feb 8 2025
The Boiled Leather Audio Hour on “Midnight Mass”!
Over on the Boiled Leather Audio Hour Patreon, we like to stretch our muscles a bit to stuff less directly relevant to ASOIAF/GOT/HOTD/fantasy/SF/the sweep of history. If you’re a subscriber, listen to our new episode on Mike Flanagan’s Netflix horror miniseries Midnight Mass. I think it’s one of our best.
“Severance” thoughts, Season Two, Episode Four: “Woe’s Hollow”
She doesn’t get caught because she gets overheard plotting with the Board. She doesn’t get caught because she accidentally lets slip that she knows something she couldn’t possibly know. She doesn’t even get caught because she invented a “night gardener” as a shoddy alibi regarding her time on the outside, or because Irving B. has a weird prophetic dream when he sleeps rough in sub-freezing temperatures.
No, it’s simply being a little bit too mean that gives this impostor away. “What you said to me last night, it was cruel,” Irving B. tells her, his suspicions confirmed by this behavior. “Helly was never cruel.” Indeed, the way “Helly” deflects Irving B.’s accusations by bringing up his heartache over his loss of his office romance Burt G. stands out like a sore thumb in the moment, even before you think through what it says about who she really is. It’s the kind of emotional manipulation we saw Milchick use to get Mark to come back to work just a couple episodes ago — straight out of the Lumon handbook, perhaps even literally.
Shows that try their hand at mystery-box storytelling would do well to follow the example set by Severance in “Woe’s Hollow” (Season 2 Episode 4). It’s much more compelling to let the nuances of performance and writing reveal a character’s layers over time, the way they do in a regular drama, than to constantly pull rabbits out of hats like a stage magician.
“Paradise” thoughts, Season One, Episode Four: “Agent Billy Pace”
Acting is the engine that drives Paradise. Not the plot, which you’ve seen before on better shows (watch Silo! watch Fallout!); not the dialogue, which is a wildly mixed bag of astute and cartoonish. Sterling K. Brown, Julianne Nicholson, James Marsden: These are the load-bearing components of what creator Dan Fogelman has built down in that bunker.
To that number we can safely add Jon Beavers, who plays — or played — Agent Billy Pace, the character who gave this episode its title. Via a series of flashbacks, we learn how he became the man he is — or was — today, and it’s a very different man than what we’ve seen from him so far. But Beavers is so endearing in the role and so deft with his bantering dialogue that he almost singlehandedly makes the contradiction make sense.
“Severance” thoughts, Season Two, Episode Three: “Who Is Alive”
Well, that was fast! It was probably inevitable that Severance would, at some point, un-sever Mark and Mark S., the outie/innie pair at the center of the series. But if it went anything like everything else on this show goes, the process would take several painstaking steps over several hour-long episodes, during which time any number of other pathways would open up and get walked down before we made our way to our appointed destination.
Instead, Mark learns he can be reintegrated, agrees to do it, then gets it done in a grand total of two back-to-back scenes at the very end of this episode. Zero to 100, just like that, in defiance of the way this show has told its story since its inception. It’s a surprise that works on more than just an entertainment level, too: If your show is about the tyranny of routine, it’s a good idea to break from routine now and then.
“Paradise” thoughts, Season One, Episode Three: “The Architect of Social Well-Being”
It may be an espionage thriller, but no one’s gonna mistake Paradise for Michael Clayton or Tinker Tailor Soldier Spy anytime soon. Information about the assassination of President Cal Bradford and the compromising positions of virtually everyone involved in the case isn’t unearthed or deduced — it’s delivered in great gobs of personal exposition, the confessor standing face to face with the interrogator. The casework seems to amount to a series authority figures asking people “Did you do it?” and backing down when the person says “No.” I’ve seen more compelling detective work in episodes of DuckTales.
Okay, so creating a thrilling murder mystery is not Paradise’s strong suit. What it relies on instead is using the strength of its cast to turbo-charge its tearjerking tales of their pasts. Even when the material is kind of underbaked, simply involving Sterling K. Brown means you’ll get something edible.
STC on WIZARDS: The Podcast Guide to Comics
There’s a podcast about my old job, and this week I’m the special guest! I had a wonderful time discussing my stint at Wizard. If you ever wanted to hear me tell tales out of school about that time in my life, now’s your chance!
“Paradise” thoughts, Season One, Episode Two: “Sinatra”
I single out these two moments for a reason: Man oh man do they make creator/co-writer Dan Fogelman’s strengths crystal clear. Working with co-writer Katie French, he just sort of casually tosses off two enormously endearing moments, from two very different spheres of human interaction. The flirtation is fun and genuinely sexy. The family bonding is warm and sincere. None of it feels particularly like something from a television show — or if it does, it feels like it’s from a good television show. You know, the kind of television show that doesn’t immediately give young Dylan a terminal illness to wring out extra sympathy points for his mother, who in the present day is a calculating man-behind-the-throne figure straight out of billionaire reality.
But Paradise is that kind of show, too! Paradise is the kind of show that has the son beg Julianne Nicholson to tell him if he’s going to Heaven and what it will be like — it’s going to have more horsey rides! — over a breathy cover version of, I swear to god, “We Built This City” by Starship. This is a level of tasteless, mawkish sentimentality that feels like it comes from a whole different universe than that bit about her lying in hopes of picking that dude up. It’s so much broader, too, than everything this beautifully observed moment outside the supermarket on the horse with the ice cream had been right up until that point.
From a strictly mercenary perspective, I get it: People like having their heartstrings tugged. But the show had already proven it could do so without resorting to crass, poorly soundtracked emotional manipulation. Why settle for a single when you’re a home-run hitter?
“Paradise” thoughts, Season One, Episode One: “Wildcat Is Down”
Even after just one episode (out of three debuting simultaneously), the strengths of Paradise are obvious — and they have nothing to do with the twist, or even with the simple murder mystery. If anyone’s gonna care about any of that at all, they owe it to Fogelman’s knack for writing engaging, real-feeling friendly banter, and the casting of the deeply charming (and good-looking, which doesn’t hurt) actors Sterling K. Brown and James Marsden to deliver much of it. Whether Xavier is allowing his kids to gently bust his chops, or whether he’s doing the same thing to his buddy Billy, or whether he’s navigating his complicated relationship with President Bradford, the conversations are lively and hard to predict from one beat to the next. It’s a gift to write that kind of scene, and I feel I can assume without looking that this is what drove This Is Us at least as much as the twists and turns.
I also assume we’ll get a whole lot more of those in the episodes to come. When you drop “oh by the way, this is science fiction” on the audience at the end of your pilot, it’s hard to imagine there are no further tricks up your sleeve. That’s putting aside the fact that Fogelman made his bones off creating an engaging sense of mystery and surprise for his viewers. The subject matter feels weird in the present moment, that’s for certain — for one thing, it presupposes the continued existence of the federal government, which seems like an open question at this point. Many of the creative choices — the pedestrian teal-and-apricot color grading, a breathy ominous cover version of a pop hit to close the episode out — fall flat the same way they do when pretty much any show tries them. (Remember True Detective Season 4?) But “What will they do next?” is a decent hook, especially with actors like Brown, Marsden, and Nicholson dangling from it. Sure, I’ll bite.
“Severance” thoughts, Season Two, Episode Two: “Goodbye, Mrs. Selvig”
But the main benefit of an episode like this is to take us out of the, for lack of a better word, zany world of the severed floor. Down there, Mark S., Dylan G., and Irving B. are basically empty shells, or maybe characters in a one-panel gag cartoon about office life. (Helly R., who never buys into the bullshit for a second, is considerably more vibrant.) Up top, however, Mark is a real guy, a guy who hangs out with his sister a lot and gets real angry about his wife’s death. Irving seems to share his innie’s vocal pattern, but his military background, music taste, obsessive painting of a secret location in the basement, and potential link to anti-Lumon activities mark him as a very different guy from his lovesick but largely comical counterpart. I wish we weren’t being kept in the dark about Dylan and Helena’s lives at home, but at least there’s some dark to explore. I’m interested in these people, not the meticulously constructed world around them.
“Severance” thoughts, Season Two, Episode One: “Hello, Ms. Cobel”
There’s something happening here; what it is ain’t exactly clear. Since it began, Severance has relied on obfuscation as a load-bearing element of its storytelling. Created by Dan Erickson, the show is many things at once — a dystopian thriller, a sci-fi satire, a workplace dramedy, a black comedy about cults, an anticapitalist broadside, an on-again off-again meditation on what we owe the people we love. But it’s stuffed all of those things into a Lost-indebted mystery box, and every time one of its mysteries is solved, you get another three or four mysteries as a perk, or a penalty.
“Silo” thoughts, Season Two, Episode Ten: “Into the Fire”
Brutalist architecture is misleadingly named. When people think of the stark, colossal buildings that are the hallmark of the style, they think brutal as in overpowering. In fact the term comes from the french word brut, meaning “raw,” referring to the style’s tendency to display rather than mask its raw materials, its concrete and steel.
Brutalism is often associated with such massive construction projects as low-income housing or government buildings, and for good reason: It’s a postwar style that emerged from the social-democrat consensus following the conflict, and was embraced by left/liberal governments on both sides of the Iron Curtain. Only when the tail end of the Cold War and its conservative ascendency shook that consensus did these buildings take on the vaguely sinister air with which they are often associated to this day.
The reason for that is simple, as anyone who’s ever seen a crumbling castle or haunted house can tell you. When a system dies, the buildings constructed by that system for the greater good become symbolic instead of the system’s collapse. City halls become sites of faceless bureaucracy. Monuments become gravestones. Shelters become tombs.
[…]
The Silo — the Silos, plural — are brutalist in their construction: the concrete is unadorned and enormous in scale. They’re brutalist in their purpose: They were built to safeguard 10,000 souls apiece, recreating society in miniature.
But they’re also “brutalist” in the misnomer sense: They are the site of authoritarian oppression. If indeed they ever really were built to safeguard anything, all they really exist for now, as Lukas and Bernard and Juliette and Jimmy all learn, is to seal off the lives of those within forever, lethally if need be.
The Silos are the brutalist paradox transmuted into sci-fi plot form. Are these massive structures the only hope for humanity? Or are they indeed better thought of as haunted places, places of deceit and domination, because whatever world they once existed to protect is long dead?
[…]
Silo asks a provocative and timely question, one reflected in the controversy of the architectural style upon which it’s based: Are structures of protection really structures of oppression? And when the time comes, will we be able to tell the difference?
“Skeleton Crew” thoughts, Season One, Episode Eight: “The Real Good Guys”
From the start, Skeleton Crew has run like an R2 unit whose motivator is a bit on the wonky side: In large part, it still works just fine. Its theme-park-ride sense of forward motion and energy alone makes it the most entertaining — okay, make that the only watchable — new Disney Star Wars show since Andor. That’s before you get to its deployment of oodles of fun creatures and droids and space pirates, the kind of good clean fun you want in a Star Wars show for kids. The key ingredient is the lead performance of Jude Law as Jod Na Nawood; his transformation from bad guy with a heart of gold to a real rat bastard is the kind of genuine, character-based surprise that a shocking twist or secret identity can only hope to deliver.
But there were always signs that the machine wasn’t running as smoothly as it could be. The premise and the show’s initial suburban setting amount to crass Gooniesploitation. The core kids started out as stock characters reciting dialogue straight out of kids’ adventure movies; Wim, the worst offender, never grew out of it. Key action sequences felt thrown together. Most tragically, Kelly MacDonald, who by rights should be the co-lead in a whole Star Wars show of her and Jude Law’s own, gets like two minutes of screen time.
Like the pirate frigate that makes a fiery but stately descent into the surface of At Attin after being blown out of the sky by X-wings, this is the episode where it feels like the whole thing just kinda stalls out and comes in for a crash landing. It’s the kind of finale that feels like it wasn’t so much written as translated from a series of shoulder shrugs in the writers’ room. After all of this adventuring, the good guys flip the special good guy switch after sending the good guy signal, and the good guys win.
“American Primeval” thoughts, Episode Six
As I write this review, wildfires brought on by climate change are ravaging Los Angeles. The climate change denier whom a plurality of voters selected to be their president, and who as best I can tell is completely insane, is threatening to bring back American expansionism by conquering Canada and Mexico and Greenland as his conservative Christian backers cheer him on. In this final episode of American Primeval, a fanatical Brigham Young rants about his God purifying the world from wickedness as his Mormons, fresh off a genocidal attack on the Shoshone, solidify their claim on Utah by burning Fort Bridger to the ground. You hear Young’s words over the flames. It feels familiar, is what I’m saying. People will always use fires they themselves started as a smokescreen for their murderous ambition, I guess.
“American Primeval” thoughts, Episode Five
It’s preposterous how good Shea Whigham is at delivering dialogue. Boardwalk Empire, Perry Mason, American Primeval — whatever the assignment, he makes every line sound like he’d never heard a word of it before thinking it up right then and there. When Whigham’s Jim Bridger verbally spars with Kim Coates’s appropriately bloviating Brigham Young, he makes the great evangelist sound like a high school freshman at his first debate club event. Sure, Bridger has likely just brought the murderous wrath of the Mormon nation down on his head with his backtalk and intransigence — not to mention his heavily armed squad of employees, mountain men, and Native Americans with nothing left to lose. But Young attacking Bridger now after failing to verbally fluster the grizzled frontiersman in the slightest is a bit like Drake suing after Kendrick Lamar beat the brakes off him in their beef. Even if he wins, he’s a sore loser.