‘A Knight of the Seven Kingdoms’ review, Season 1, Episode 3: ‘The Squire’

At any rate, with none of his squire’s privileges and protections of rank and title, Dunk straight-up decks a man he knows to be a Targaryen. Having seen his own father hanged as a boy, he is under no illusions about the nature of Westerosi justice. He knows standing up for Tanselle will cost him his life. Then he does it anyway.

Ser Duncan sees armed and armored agents of the state assaulting a woman of color — racism against the darker-skinned Dornish is pervasive at court during this time period in George R.R. Martin’s stories — and places her life above his own. He does this instinctively, without thinking, without letting the almost certainly fatal consequences deter him. He has seen the powerful doing evil, and he has chosen to fight it. For him, there’s really no choice to make at all.

When Aerion petulantly asks Dunk why he has chosen to throw his life away, it’s a rhetorical question. But it sheds more light on the prince than he realizes. Men like him really can’t understand that kind of selflessness, that sense of kinship with one’s fellow human beings. That inability is the tyrant’s biggest weakness. And it’s what gives free people hope for a fighting chance — a hope which belongs to all who invoke it.

I reviewed tonight’s A Knight of the Seven Kingdoms for the New York Times. (Gift link! And yes, I’m aware the byline is wrong as of press time.)

‘Twin Peaks’ thoughts, Season 2, Episode 3: ‘The Man Behind the Glass’

The only glimpse I caught of Twin Peaks during its initial run occurred on October 13, 1990. I was 12 years old, it was after 10 p.m., and I must have been flipping through the channels absent-mindedly before bed after the Golden Girls/Empty Nest block on NBC had ended. I was aware of the show by then, even as a person who’d only freshly become aware of “pop culture” as a phenomenon; the cast and the parodies were absolutely everywhere for months. But this was my first look at the show itself. 

I saw a one-armed man with a syringe have a seizure in a men’s room stall, then emerge in perfect calm, talking to an unseen figure like a man possessed. 

I was a squeamish kid. That was plenty of Twin Peaks for me.

I reviewed the third episode of Twin Peaks Season 2 for Pop Heist. Gift link!

‘The Beauty’ thoughts, Season 1, Episode 4: ‘Beautiful Chimp Face’

Keep that in mind as you watch Coop’s subsequent actions throughout the episode. When he’s interviewing the GQ guy, he learns that the man was in love with the woman who blew up, though he knew she didn’t feel the same. When he starts to sob with grief, Cooper actually takes the risk of reaching out and holding the man’s hand. “Thank you for being kind,” the man says with shocking directness. “They’ve kind of been treating us like animals.” Light shines on them from above, transformed from the harsh glare of an interview room to a kind of visual benediction.

The same thing happens with Platt’s character. When Cooper enters the plastic-lined chamber where doctors are working on him, he’s struggling against his restraints, begging them to “talk to me like a real person” over and over. That’s exactly what Cooper does, calming Manny down by discussing their dogs and, again, holding the man’s hand. “You have a kind face,” Manny plaintively tells Cooper at one point, not incorrectly. Things go south after that, but that’s the virus’s fault, not Cooper’s. 

If you’re not a heterosexual cis man and you’re reading this, I need to impress upon you just how not done it is to reach out and hold the hand of basically any man, let alone a stranger. You have to willingly leap a pretty big gap of societal convention, patriarchal conformity, homophobia, and emotional stuntedness to do it — and you have to count on the recipient to be willing and able to do the same. I found these moments strangely beautiful as a result. Even amid all the camp body-horror shenanigans, the show makes time for men to treat each other decently. 

What’s more, Ashley and Manny aren’t simple stereotypes. Ashley, who’s kind of a gym bro, feels looked down upon by the elite fashionistas at Vogue. He knew Manny was cruisy in the men’s room — but he didn’t mind, because letting the guy check out his dick gave him a little confidence boost. “I’d give him a little show. Made me feel superior. Picked me up on down days or something.” Only after rambling like that does he catch himself: “Sorry. I don’t know why I’m telling you this.” 

It’s a humanizing comment, a funny and unexpected detail, and an illustration of how even straight gym bros who are madly in love with beautiful women and absolutely love to kiss and tell about it also engage in a little homosociality now and then for various reasons, all in one. It’s excellent writing from co-creators Ryan Murphy and Matt Hodgson, and the entire hospital segment is engagingly acted by Peters, Platt, and Halper.

I reviewed this week’s very good episode of The Beauty for Decider.

‘The Pitt’ thoughts, Season 2, Episode 4: ’10:00 A.M.’

“The Pitt” loves its teachable moments. If a patient doesn’t have insurance, characters will discuss the way many families fall in a coverage no man’s land: too poor to afford health insurance, not poor enough to receive Medicaid. If a nurse ignores a deaf woman in favor of her A.S.L. translator, he — and the hearing members of the audience — will be gently reminded to address deaf people directly when speaking to them. If a secretly bulimic patient’s pneumonia is caused by her eating disorder, the safe money says that the friendly emergency room doctors will persuade her to accept help almost immediately. They will also note, correctly, that Black women with eating disorders are underdiagnosed.

Every episode of “The Pitt” features moments reminiscent of “very special episodes,” in which 1980s sitcoms briefly silenced their laugh tracks to address serious societal issues. Moments like those in “The Pitt” work as much like educational programming or civics lessons as they do drama.

But the skill of the actors and filmmakers goes a long way toward lessening the sense that you’re being lectured. It would indeed be nice to live in a world where the differing needs of people from different backgrounds and with different conditions were met with care, respect and understanding. No matter what cases come their way — and the cliffhanger ending, about an antibiotic resistant infection, suggests they’ve got a doozy on their hands — it is a safe bet that the staff of the Pitt, for all their imperfections, will teach by example.

I reviewed tonight’s episode of The Pitt for the New York Times. (Gift link!)

‘Fallout’ thoughts, Season 2, Episode 7: ‘The Handoff’

“Don’t think of them as human beings. Think of them as Americans.” 

When the creators of the Fallout games forcibly annexed Canada into their dystopian-future United States, they did so when this was a parody of American imperialism. How could they have known that before too long, American imperialism would be beyond parody? The incorporation of Canada as “the 51st State” is now an explicit, stated policy goal of the American government, to the extent that any of the demented synapse-firings of our pedophile protector president and the psychosexual fixations of his cadre of mutant Nazi viziers can be considered “policy” as we have historically understood the term. We live, and in an increasing number of cases we die, under the exact same kind of rule by demented billionaires Fallout presented as a worst-case scenario. A cheery thought, isn’t it?

I reviewed this week’s crackerjack episode of Fallout for Decider.

‘Industry’ thoughts, Season 4, Episode 3: “Habseligkeiten”

It was right around the time that his beautiful wife engineered a threesome with his equally beautiful assistant that I started to feel bad for Henry Muck. I watched this peer of the realm joylessly slam his marble-carved body into Hayley, an eager, gorgeous woman 15 years his junior. I watched his wife Yasmin — who made it happen, then oversaw it all with approval while languidly smoking a cigarette — order Hayley to spread her legs so Yasmin could suck “something that belongs to my husband, and therefore to me” directly out of her body. I watched all that, and I thought this poor bastard.

I reviewed last night’s Industry for Decider.

‘A Knight of the Seven Kingdoms’ thoughts, Season 1, Episode 2: ‘Hard Salt Beef’

Although we’re only two short episodes into the season’s brief six-episode run, “A Knight of the Seven Kingdoms” is already a significant shift from the somber grandeur and Grand Guignol horror of “Game of Thrones” and “House of the Dragon.” Its tone is light. Its threats are decidedly less than world-shaking. Its protagonist is a commoner, not a noble. Its editing is positively zippy in places.

Moreover, while the show relies on the interplay of Peter Claffey’s decent but dense Dunk and Dexter Sol Ansell’s precocious problem child, Egg, the result is less a “Lone Wolf and Cub”/“The Last of Us” survival story than a mismatched buddy comedy. Ser Duncan may be the only contestant in the tourney dopey enough not to realize that there is more to his suspiciously knowledgeable and headstrong squire than meets the eye.

I reviewed this week’s episode of A Knight of the Seven Kingdoms for the New York Times. (Gift link!)

‘The Beauty’ thoughts, Season 1, Episode 3: ‘Beautiful Christopher Cross’

The final surprise? Like his boss, Antonio loves him some yacht rock. In another American Psycho riff, he defends the artistic legacy of Christopher Cross at length, decrying the image-first MTV era for tanking the average-looking singer-songwriter’s career. “The world is cruel to people who aren’t beautiful,” says the murderer-for-hire.

But he only says this after he sings the entire first verse and chorus of Cross’s smash hit single, the definitive yacht rock song, “Sailing.” And I mean the whole thing, every note, for approximately one minute and forty seconds of screentime — all while Jeremy, who’s both a) not a fan of Christopher Cross, and b) convinced this man is going to kill him at any moment, watches in perplexed horror. 

And dude, Anthony Ramos sings that song. He puts his heart and soul into it the way you do when you really want to kill it at karaoke. The funny, pop-culture-referencing hitman is an old archetype now — Pulp Fiction is over thirty years old — but rarely have I seen it done with this kind of cheerful gusto. Between this and his fine work on Marvel’s Ironheart, the guy plays a great villain precisely because he doesn’t really read as villainous.

I reviewed the third episode of The Beauty for Decider.

‘The Pitt’ thoughts, Season 2, Episode 3: ‘9:00 A.M.’

“The Pitt” is not a show for the cynical. The show is full to bursting with heartfelt declarations of devotion, moving rapprochements between estranged loved ones, copious tears of both sadness and joy, and celebrations of cooperation and community. This sweet stuff can be hard to swallow when you’ve been weaned on a bitter diet of prestige antihero dramas like “The Sopranos.”

But “The Pitt” is not a show about normal circumstances. Every patient who arrives in the E.R. introduces a new set of potentially life-or-death stakes for the core cast to handle. Even cases that aren’t potentially fatal often reveal some horrible defect in the American health care system.

The friends and family members by the bed sides of their loved ones are alternately terrified, furious, confused, devastated and grateful beyond belief. Why wouldn’t they be? A group of competent medical professionals just healed the person they care about — or failed to. Emotions run hot and close to the surface. Apply enough pressure, as circumstances in the Pitt do, and those emotions explode with volcanic force.

In essence, the hospital setting of “The Pitt” is a cheat code. It allows us to access our deepest, most profound emotions without embarrassment because those big emotions match the scale of the triumphs and tragedies we witness on an hour-by-hour basis.

I reviewed this week’s episode of The Pitt for the New York Times. (Gift link!)

‘The Beauty’ thoughts, Season 1, Episode 2: ‘Beautiful Jordan’

“I think everything that we do, from the minute we hit puberty to the second we die, is about sex. We go to the gym, we work on our bodies, we cut our hair, we fix our teeth, our tits, torturing ourselves for some promotion — and everything that we do is about our universal, unquenchable thirst to all be considered attractive enough to get laid.” —Agent Cooper Madsen

Put a pin in that speech. We’re gonna come back to it.

I reviewed the second episode of The Beauty for Decider. It’s fun and sharp!

‘The Beauty’ thoughts, Season 1, Episode 1: ‘The Beauty Pilot’

The series premiere of The Beauty, co-created, co-written, and directed by Ryan Murphy, depicts a deranged model played by Bella Hadid going on a killcrazy rampage at a Balenciaga runway show, embarking on a high-speed motorcycle chase on the streets of Paris, resuming her killcrazy rampage with bone shards sticking out of her leg, then exploding like a blood-filled water balloon, while the Prodigy’s “Firestarter” plays.

There. I’ve now told you everything you need to know to determine whether or not you’ll enjoy The Beauty. It’s a Ryan Murphy joint through and through, from the high-profile cameo by a beautiful famous woman to the emphasis on sensation over substance. Of course, sensation can be its own kind of substance, and your mileage on whether Murphy ever makes it so may vary. I find all this work in the true-crime genre to be excellent, for what it’s worth. The crimes going on here, however, are very much not true.

I reviewed part one of the three-part series premiere of The Beauty for Decider.

‘Fallout’ thoughts, Season 2, Episode 6: ‘The Other Player’

Telling this story to her husband, Cooper Howard, when he confronts her with what he knows about the plan to drop the bombs does not have the effect Barb intended. When he asks her how she could sentence millions, billions of people just like them and their daughter to death to protect their daughter herself, she asks, wouldn’t he? I don’t think he would, at least not in this pre-Ghoul incarnation.

But plenty of people not only would, they’d jump at the chance. Just the other day I saw a viral post in which father of a newborn boast he’d wipe out whole continents just to see his baby daughter smile. Odds are that this asshole doesn’t even change the kid’s diaper without being asked, but here he is, champing at the bit to commit genocide to show what a good dad he is. 

Remind you of anyone? “Some things just never change,” Hank MacLean tells his daughter Lucy in the present. “People just wanna kill each other, don’t they? I think it’s the only way that people feel safe. It’s ironic, isn’ tit? To feel safe they have to kill each other.” It’s the raison d’être of the fascism we see playing out on American streets in 2026: In order to assuage our baseless fears, we must inflict terror on others.

I reviewed this week’s episode of Fallout for Decider.

‘Industry’ thoughts, Season 4, Episode 2: ‘The Commander and the Grey Lady’

When presented with a banquet, an absolute feast of an episode like this one, the temptation is to try to swallow it all in one go. The challenge is to resist that temptation. An episode like “The Commander and the Grey Lady,” the second in Industry’s fourth season, is a meal you can return to for seconds, thirds, and leftovers. Once again written and directed by series co-creators Mickey Down and Konrad Kay, it’s the kind of episode that makes you ask the host for the recipe — or the help, as the case may be. Best to sample a few delicacies at a time rather than try to gobble it all down.

I reviewed this week’s Industry for Decider.

The Boiled Leather Audio Hour on A Knight of the Seven Kingdoms Episode 1!

The longest-running A Song of Ice and Fire podcast on god’s internet is going weekly for the duration of A Knight of the Seven Kingdoms, baby! Listen to the all-new Boiled Leather Audio Hour on the series premiere — the debut of Dunk and Egg — right here or wherever you get your podcasts!

The Courtship of the Bull

by Sean T. Collins

The following story is intended for mature readers.

The hammer fell for the last time. Its bronze face drove the spike home deep, its head now flush with the wood. The craftsman stood back, wiped the sweat from his brow with the back of the corded arm that held the hammer, and looked at what he’d built. Truth be told, on a project this unconventional he wasn’t sure what he was looking for.

After a moment he exhaled sharply and turned to the workbench, laying the hammer down. He picked up a plane and faced his construction once more. Nodding to himself, he stepped forward and gently scraped the plane against the wood, moving up and over the crest of its curved surface. He did this more out of habit than necessity: The object’s exterior was already smooth to the point of seamlessness, every joint and crevice fitted perfectly. But in all his years of renown his’ habits had yet to fail him, and he trusted them like friends. 

Daedalus walked to the rack near the wall of his workroom and took down the hide hanging from it. Being careful to keep it off the sawdust-covered floor, he slung it over the structure. It was always the structure, the object, the construction in his mind, and never what it so clearly looked like, never what it was intended to deceive its intended recipient into believing it was in truth. Never the cow.

The next little while he spent tacking the hide into place, light work he was in no particular hurry to finish. I’m covering up that beautiful smooth surface, he thought to himself. Shame. But the effort had not been wasted, he knew. Perfecting even such parts of the project as would never meet the eye was the key to craftsmanship. People sense the work even if they can’t see it, he’d told his nephew long ago. It shines through in what they can. His nephew—

“Is it finished?”

A woman’s voice shook Daedalus from his reverie. He realized he’d been resting his forehead against the rear of the object, eyes closed. He had been working very hard without respite, and he’d long found the afternoon sun to be a natural soporific, as many an unplanned nap at the drawing table could attest. Snapping to, he turned to look at the figure in the doorway — and immediately bowed his head. Pasiphaë, Queen of Crete, stood there, her gown yellow as the sun.

“My Queen!” Daedalus’ exclamation was apologetic. “I— ”

Oh.” The Queen’s voice silenced his. “It is finished.” She was gazing, wide-eyed, at what he only now found himself thinking of, first and foremost, as the cow.

Pasiphaë approached the wooden animal. Extending a delicate hand the color of golden sand, she touched the cover of cowhide, her fingers gliding over the fine fur. She traced the features of its wooden head, its likeness to one of Minos’ own herd impeccable. From there she caressed the simulacrum’s neck, its flank, its haunches. “And it’s wonderful.”

The Queen turned to Daedalus, the jewels on her diadem gleaming in the golden sun. “How does it work?”

She is your client, he reminded himself. And with Athens closed to you, she is your Queen. 

“Ah.” He walked to creature’s right side, standing between it and the Queen. He reached down and lifted a panel of the hide he hadn’t tacked down. There, in a flank of otherwise unblemished wood, could be discerned the faint outline of a small, square door. “You pull up the flap,” he said, “and press here…” He pressed his fingers against a small panel next to the door, which opened with a click.

The Queen approached the entrance, stooping to gaze inside. “I see,” she said. She turned to look at Daedalus. “And…?”

“Of course,” he replied. He gestured toward the back of the cow, where he’d been dozing when she first came in. Now she could see what his body had obscured: a hole, in the lower rear of the body, between its sturdy hind legs. The hole’s edges were rounded smooth and upholstered in leather.

“Once inside, turn to face the front of the edifice and ease backwards. The opening is…” He froze momentarily. “…enough to accommodate,” he said at last.

Pasiphaë reached out a hand and traced the edge of the orifice with her jewel-encrusted fingers. Slowly they curled around the lip of the opening. Extending her arm, she inserted her hand in the hole, which swallowed her up to the elbow. While she was distracted, Daedalus dared a glance at her eyes. The gaze he found there was warm, and dark. He looked away.

“You’ve grown quiet,” the Queen said. She withdrew her hand from the hole. Try as he might, Daedalus could not cloak the dismay on his face — no, not even he who’d dissembled his way through meetings with countless clients who thought they knew better, until he showed them otherwise. “What’s wrong, Architect?” Her pretty brow lifted in concern. 

“I fear this whole business, my Queen,” he said honestly, scratching his beard without realizing he was doing so, an old tic. “I’ve feared since first the king refused the sacrifice. I fear it will go ill for all of us.”

Paisphaë put her hand on Daedalus’ bare shoulder. He tensed, despite himself. She was a beautiful woman. 

“Architect,” she said, “your crime is behind you.” 

And there it was. All it once, everything he now realized he’d been trying to forget by burying himself in this mad project came rushing back. Perdix was his nephew — just his nephew! — but his craft had already outmatched that of the great Daedalus. They had quarreled, well really he had attacked the lad, and there was a window, and…

He started to speak, but Pasiphaë shushed him. “Ah, ah. The goddess of that city saw fit to give young Perdix new life as a bird to spare him the fall, did she not? And with his flight so too departed your guilt. Take heart, sir. You are in Crete now, and you are free.”

He watched as she turned her eyes on the cow. There’s that look again. “As am I.”

Pasiphaë removed her diadem. “I am the daughter of the Sun, the white bull a gift of the Sea,” she said, setting it down on the crowded workbench. “How could our union go ill?”

Daedalus was in his own head, where his thoughts had grown dark. He busied himself by straightening the cowhide, which was already straight. “As you say, my Queen.”

“Now, let’s give this a try.”

“Let’s—?” Daedalus realized he’d only been half paying attention to the wife of King Minos and blinked, turning. Then he saw Pasiphaë, her gown a yellow pool around her tanned feet. Her hair flowed from her head, rippling down her bare body like the reflection of the sun in wavy water.

Before the craftsman could say anything, the Queen walked back to the door in the side of the wooden cow and began climbing inside as he watched. When she reached the halfway mark, her soft belly bisected by the portal, she shifted her weight for better access. Daedalus saw the muscles within her ass and thighs clench, moving the flesh of her lower body around them. As he stared, she stood on her toes and pushed upward, sliding inside with one final motion. 

“Does it close from the in—oh, there it is” she said. The door slid shut with another click. 

Suddenly chastened, Daedalus averted his gaze from the cow. You had no right. “You should find padding inside,” he said without facing it, his voice thick in his throat. “Reach into the head to—”

“Show me how it works,” came the muffled voice inside the cow.

“My Queen?” Daedalus was confused. “I’m sorry, but I’ve already shown you how it—” He heard the wooden beast creak as if it had been jostled and turned to see the source of the noise. 

There in the hole between the thing’s legs, he could see the Queen’s cunt. 

Show me how it works. 

When he realized what she wanted of him the fear he felt only grew…but so did another feeling, hungry and hot. He leaned his head against the cowhide and closed his eyes. But the apertures of his other senses widened accordingly. He heard the Queen — or rather he heard the Queen’s body, the Queen’s naked body — wrlggling inside the cow. He felt his cock stiffening against his clothes. And even amid the aromas of sawdust and cowhide, he smelled, faint and rich and slightly maddening, the scent of her arousal.

He began to undress. He tossed his robe onto the workbench, then his undergarment, the plain fabric of which obscured the Queen’s diadem entirely. Turning, his cock throbbing as it rose to full stiffness, he walked forward and touched the cow. The cow. Now I can say it. He made a full circuit of it, his hands making a study of all he’d built. He needed it to be real to him, as it would have to be for the sacred animal that was, in the end, his true client.

When his hands finished their tour, he found himself behind the cow once more. He was ready now. He licked his hand and stroked the shaft of his cock, wetting it. He positioned it at the opening in the cow, the opening in the Queen, and — hhhhh — slid inside. 

How hot she burned!

He knew right away he would not be long in climaxing. Not out of pleasure, though it was intense — forbidden and perverse and as keen and sharp as ever he’d known it. No, it was as if his body felt a sense of duty. He was demonstrating the efficacy of his creation, nothing more. If he allowed himself to savor this, how could he look himself in the mirror and adjudge himself an honest craftsman?

The Queen moaned within, grunted, sounding muffled and animal from inside the cow’s hide-covered carapace. His arms wrapped around the cow, stretching forward. He clung to it — to her. He bent his head to it one more time and covered it with desperate, delicate kisses. 

The sensation of her cunt spasming around his shaft shook him loose. He looked down and saw her jeweled fingers sticking through the opening in the cow, rubbing her swollen clitoris amid a cloud of golden hair as she brought herself off. It was too much for him at last, then. Paisphaë, the cow, the job, all of it, too much.

My Queen,” he gasped as her own cries faded. “I’m there…

“Not in me!” came the muffled command from inside. “Spill it on the floor.”

Had he been able to think clearly Daedalus could have foretold this outcome, which instead took him by surprise. No matter. It was all too far along now. The machine would serve its function.

Ahhh…” He pulled himself out of her and began stroking furiously, his hand sliding up his cunt-slick foreskin up and down. Swooning, he leaned hard to his left, his shoulder bracing him against the cow as he turned to face the workbench. “Ahhh!” His climax overtook him then. He forced his eyes open, the muscles of their lids wavering, and watched his own semen gush out of his pulsating cock to the sawdust-strewn floor. 

As it ended, he leaned back and slid down, his ass colliding with the floor as he leaned back against the beast’s legs. His semen lay in a puddle between his knees.

He felt the cow shake from within, heard the click and whoosh of the door unlocking and sliding open. In seconds, the Queen was by his side, naked and sweaty as he was. 

“Oh, good,” she said, looking down beteween Daedalus’ splayed legs. She stuck out one finger and swirled it through his spunk, drawing patterns in the sawdust. “It works.”

Without another word she stood. He looked up and saw her smear her cummy finger against the cowhide, then turn to the workbench. Tossing his clothes to the floor, she retrieved her diadem. It sat there in her hands for a moment, then another.

She looked back at Daedalus. “I love him, you know. I do. I can’t expect anyone else to understand what I myself cannot, but I love him.”

Pasiphaë put the crown back on her head began to dress. “And so I thank you, Architect, for what you have done for me today.” He knew what she meant, and what she didn’t.

She was already leaving. “Have it brought to the pens,” she said. It was a command, not a request.

Daedalus was still sitting naked against the leg of the cow. “Yes, my Queen,” he said. 

After a minute, maybe two, he stood, wiped the sawdust from his ass, and began cleaning up.

The servants scampered out of the pens, leaving the wooden cow behind. In the shadows stirred a massive shape the color of sea foam in the light beyond. The bull approached the cow slowly, warily even, the tips of its ivory horns parallel to the earth below, but already its excitement was evident. 

The white bull of Poseidon reared up and mounted the cow. From his window, Daedalus watched its engorged cock stop, thwarted, then push forward and disappear within the hide-covered container he’d built.

Daughter of Helios, by Aphrodite accursed, I beg of you, he thought. Gods of Olympus, architects of existence, I pray of you. Please, turn not my invention to evil. But even as he thought this, his cock was hard.

He ran his hand through his hair, higher up his forehead with each passing year, and turned from the window. The drawing board awaited, and with it the designs he’d been working on since he’d finished the cow. The Queen had inspired it, in more ways than the obvious.

He was just pressing his reed pen to paper when he heard small footsteps approaching. “Papa!” His son appeared in the doorway of his study, grinning ear to ear, as if privy to a wonderful secret he would soon share.

Daedalus felt the yoke of care that bound him begin to fall away. He put down his pen, arresting his study of his nephew in flight — not as the mere bird into which Athena had transformed him, no, but as the man himself, full grown and yet wingéd still, soaring nigh unto the Sun. 

“Yes, Icarus,” he said, returning the boy’s smile. He stood and abandoned his work, for now. “I’m right here.”

‘Twin Peaks’ thoughts, Season 2, Episode 2: ‘Coma’

The motorcycle parked outside the Palmer house lets you know who’s inside. James Hurley and his girlfriend Donna Hayward have come to visit Maddy Ferguson, the out-of-town cousin of their beloved friend Laura Palmer. In fact, they’ve come to record a love song, using a tape recorder, an old-fashioned microphone, and James’s acoustic guitar. While Maddy and Donna sit side by side on the floor and coo their dreamy backing vocals, James takes lead. His tremulous voice sings a song called “Just You,” which sounds like something you might have slow-danced to at the 1961 Spring Fling. 

Donna’s mistake is believing that the song is for her. It might have been when he wrote it. It might even have been when he started singing it. But as the song continues, the dynamic shifts. As Maddy’s eyes seek out James with increasingly obvious hunger, and he responds by looking back at her instead of Donna, Donna’s own eyes grown desperate, pleading, and finally tearful. Eventually it’s too much, and she gets up and runs off.

“I’m trembling, James,” she says when he comes to comfort her. “You made me.” It’s true, but not in the heated way she intends it to sound. The thought of losing James has rocked her. 

Maddy just sits there looking uncomfortable for this bit.

Then something happens. As she looks absently into the depths of the Palmer family’s first floor, a man emerges into view. Slowly he approaches, crawling over the sofa, scrambling over the coffee table, staring straight into the camera until he’s right in our faces. Maddy screams uncontrollably, even as Donna and James rush to her side to comfort her. She’s seen Laura’s killer. She’s seen Bob.

These few short minutes of screentime begin with a song so sugary sweet it passes through camp and back around into to dead-serious sincerity. There’s just no denying the passion and pain in the glances exchanged between the three singers. Add in Donna’s attempt to kiss James back into loving her and you’ve got something desperately romantic, in line with the star-crossed relationships of Blue Velvet or Mulholland Drive. But then, after some brief comic relief courtesy of Maddy’s third-wheel awkwardness, comes what remains one of the scariest shots ever aired on television: Frank Silva’s Bob, coming for all of us.

I reviewed the second episode of Twin Peaks Season 2 for Pop Heist. Gift link!

‘A Knight of the Seven Kingdoms’ thoughts, Season 1, Episode 1: ‘The Hedge Knight’

You don’t hear whistling in Westeros very often. The warring kings, the scheming viziers, the occasional incursion by angry dragons or ice zombies — there’s just not a whole lot to feel cheerful about in the Seven Kingdoms. It’s hard to whistle while you work when the work is a Hobbesian war of all against all, unless you’re being a real Joffrey about it.

But in “A Knight of the Seven Kingdoms,” the new HBO show set in the same world as “Game of Thrones” and “House of the Dragon,” there’s whistling on the soundtrack. Lots of it, in fact. Jaunty, carefree whistling, atop a bed of folksy acoustic guitar. The work that composer Dan Romer does here is a world removed from the dramatic, swirling score provided by Ramin Djawadi for this show’s predecessors. Only once does the music hint at that familiar, rousing theme song … and it is immediately cut off by a shot of the show’s hero violently moving his bowels.

In other words, you can literally hear that this is a different kind of show than the previous Westerosi epics. (The episodes are near-sitcom shortness, too.) “A Knight of the Seven Kingdoms” is adapted from the author George R.R. Martin’s novella “The Hedge Knight,” a far more compact and straightforward story of bravery and villainy than his epic “A Song of Ice and Fire” series of novels. Ira Parker, who created the series with Martin and oversees it as showrunner, is not telling a story that determines the fate of nations or the future of humanity in this fantasy world. (Not so far, anyway.) No wonder the music sounds less like “The Lord of the Rings” and more like “Harold and Maude.”

I reviewed the series premiere of A Knight of the Seven Kingdoms for the New York Times. Always great to be back on the Westeros beat, especially now that maybe my most beloved character in the setting is on deck. (Gift link!)

The Boiled Leather Audio Hour on Avatar: Fire and Ash

Why does Avatar endure but still feel like vaporware, even to people, like me, who basically like it? Blending dazzling technical achievement, breathless action, elbow-throwing but self-contradictory politics, and just plain goofy writing, Avatar is the most confounding franchise in Hollywood history, especially given the outsize nature of its financial success. With Avatar: Fire and Blood — my favorite film in the series! — fresh in our minds, Stefan Sasse and I look at James Cameron’s ongoing magnum opus in the latest subscriber-exclusive Boiled Leather Audio Hour podcast!

‘The Pitt’ thoughts, Season 2, Episode 2: ‘8:00 A.M.’

Maggots feasting on a living man’s arm. A bone poking through a bloody wound before getting forcibly shoved back into place. A man smiling happily as his distended stomach is drained of liter after liter of fluid. A syringe drawing blood from a fully visible and erect penis.

Normally, you’d have to turn to the work of purveyors of the extreme such as Clive Barker, Takashi Miike or Lars von Trier to see such sights. This week, they’re on America’s favorite weekly medical drama. Who says Hollywood is risk-averse?

I reviewed this week’s episode of The Pitt for the New York Times. (Gift link!)