280. “I love you, mijo.”

“No, we don’t wanna do this,” Wade Garrett says as he takes Dalton by the hand as only a fellow cooler can: by stopping the punch the younger man just aimed at his face. Toughness and tenderness in a single gesture.

But there’s more.

“I wanna tell you something else,” says the old man: “You taught me as much as I ever taught you.” The teacher has become the student. The Way of Wade Garrett, shaped by the Dalton Path as it shapes the Dalton Path. Applied Philosophy 101.

But there’s still more, and it means more than anything.

“I love you, mijo.

At last, at long last, the subtext is text. More than a teacher, advisor, mentor, friend. Mijo means “son.” A father’s love, bestowed mere seconds after the son tried to kill the father. There is no love greater.

“I’ll see you.” Wade Garrett departs, leaving his mijo, his Dalton, to contemplate his words, and to succeed or fail in the quest he has chosen to take on. He is armed in Wade Garrett’s love, now.

We will soon see what happens when that love is taken away.

279. Wade Garrett goads Dalton into throwing a punch at him, which he intercepts, and really what more is there to say than this:

278. “Leave me alone!”

Wade Garret is calm. Cool. Collected. Most importantly, clothed. After the events of the past two days he’s ready to blow this popsicle stand (whether or not Brad Wesley brought the Good Humor Man to Jasper is unknown) and head on down the road. He wants his amigo, his mijo, to come with him. “You don’t need this,” he says, referring to Brad Wesley, to Jasper, to blown-up auto parts stores and run-over auto dealerships and aggressive stripteases.

“Don’t tell me what I need!” Dalton growls as he hits the heavy bag like a man possessed. “If you wanna go, go, get the fuck out of here and leave me alone!

There’s a juvenile growl that creeps into his voice in that last phrase. The sound of a child desperately telling a bully to cut it out, a teenager yelling at his mom to get out of his room, Karen from GoodFellas reverting to girlhood and shouting “You don’t know how I feel!” at her mother when she complains about Henry Hill’s late-night gallivanting. Dalton, too, reverts to childhood around his mentor.

If Wade were thinking more clearly he’d know that this would happen, he’d know that telling Dalton what to do when he’s like this all but guarantees the opposite outcome. But I think it’s less naïveté that animates Wade’s words and more a grim premonition of the future should he and Dalton stick around. Horny Marines and drunken yokels they can handle. Brad Wesley and his goon army have proven themselves to be a whole new order of trouble. Faced with overwhelming firepower, the Way of Wade Garrett is to walk away, before it’s too late.

Alas.

277. Annihilation of the Shirt

It’s all gone to shit, hasn’t it. It’s all gone to shit, and it goes ill with the king. Just two days prior Dalton was up all night with Wade and the Doc, drinking beers and showing off scars and looking at pubes and asses and generally having a grand old time. Then Brad Wesley, finally, took the results of the Breakfast Conference to heart. He blew up Red Webster’s store. He had Denise dance provocatively at the Double Deuce. He sicced Jimmy on Jack, Hank, Younger, and Wade. He ran over Strodenmire Ford with a monster truck. War was declared and battle came down.

Where does this leave Dalton? Not being nice, yes, that’s obvious. But in what way? How can he vent the fury he knows can be lethal if he’s not careful? By taking his fucking shirt off, that’s how. By taking his fucking shirt off and sweating so much it looks like someone applied a thin coat of vaseline and beating the living shit out of his homemade punching bag. Better that than the alternative—or is it?

Gone are the days when shirtlessness signaled calm, tranquility, peace with himself and his surroundings. He’s not getting out of bed bare-assed and having a smoke while his new friend brings him breakfast. He’s not performing tai chi on the shore as old men gaze in admiration. He’s not fresh from coitus with the doctor he loves. He is anger, he is rage, he is fire and life incarnate, he is the darkness within, and he is not wearing a fucking shirt. Not on this side of the Third Rule, no.

Inside NXT’s Two-Front Wrestling War

Raw and Smackdown are like this band you were into when they first started,” Levesque tells me hours before the USA Network premiere. “They were small, and no one had heard of them, and they were the greatest band ever, right? Then, five, six years and two, three albums down the line, they go mainstream and hit it big. Casual people are all into them because they’re selling out stadiums, and you’re like, ‘That is the worst piece of crap sellout song they’ve ever made. You’ve got to go back and listen to these first two albums!’

Raw and Smackdown are the thing that want to try to grab everyone,” he continues. “NXT? I want to grab people at that base level, where they started, where this is the greatest band ever. There’s not as many of them, but they’re super-engaged from day one. We’re gonna be laser-focused on the stuff that the more passionate fans will care about — the pure product, as opposed to just the spectacle.”

NXT is fighting the Wednesday Night War against AEW—and against blending in with the rest of WWE. I spoke with Paul “Triple H” Levesque, Bianca Belair, Adam Cole, Pete Dunne, and Matt Riddle about it for Thrillist.

276. Ragged Old Flag

I can’t stop thinking about Pete Strodenmire’s tie. It’s Wagon Days down at the dealership, see, and Peter Strodenmire woke up that morning in good spirits. Sure, there was that business with Red to worry about, and Brad Wesley would almost certainly stop by to rub his nose in it, but Strodenmire didn’t mind. It was a beautiful morning, a fine morning, the kind of morning that makes the day seem endless with sunshine and possibilities. And here it’s Wagon Days—the most wonderful time of the year, he’d joke with Pam in the office. The good people of Jasper would flock to Strodenmire Ford for good deals, good friends, and all the free wieners they can eat. It’s enough to put a song in your heart, and for Pete Strodenmire that song was by-god the Star-Spangled Banner. Days like this made him proud to be an American, Brad Wesley be damned. And who knows—by the time this Wagon Day was over Strodenmire might be that much closer to his own American Dream, that little slice of paradise in Key Biscayne. He could picture the little driftwood sign with the house’s name in handpainted letters: BEACHY KEEN.

Yes, it was going to be a fine day. A fine, fine day.

“The Wicker Man” and the Horrors of Denialism

They will not fail!

The deluded denialism of Lord Summerisle and his people is made terrifyingly clear. In the nobleman’s piercing, clarion voice you can all but hear him clinging, white-knuckled, to the edifice of ideology he himself helped construct and enforce. He cannot admit that he’s wrong, can’t even brook the possibility. He’s telling himself the sacrifice will be accepted and the crops will return as much as he’s telling Howie or the assembled islanders. He’ll commit murder, doom his community to collapse and his people to starvation, before admitting the truth.

I think about those four words, and Christopher Lee’s perfect delivery of them, a lot. I hear an entire mindset, the complete conservative worldview, in those four syllables.

I wrote about my favorite line from The Wicker Man and why it’s the key to so much that’s wrong with our world for Polygon.

275. Brad, revisited

“What the hell is wrong with you, Brad?” Dr. Elizabeth Clay asks. “Have you lost your mind?” Elizabeth is the second person in the film, out of a total of two, to refer to Brad Wesley by his first name; the other was her uncle Red Webster. They were family once, after all. In Red’s case, he likely called Wesley “Brad” in hopes that maintaining a cordial, familial front would spare him his wrath and conceal his true feelings about their business relationship. Much the same could be said for Elizabeth’s use of his first name here—she is, after all, attempting to dissuade him from his current destructive course of action. But there’s a great bit of business that occurs when she approaches to confront him: She takes off her sunglasses, casually but purposefully, the way you do when your sunny day has been unexpectedly interrupted by something serious and you want to see it all clearly as you hash it out. It’s the gesture of one former lover to the next, a removal of a block to renewed intimacy, of whatever kind.

For his part, Brad doesn’t attempt to inveigle his way back into Elizabeth’s heart, or even her bed. His concern for her is almost, though surely Red would dispute the use of the term, avuncular. He doesn’t like seeing her wind up with “a drifter” like Dalton. “It’s a shame,” he says. No “I want you back,” no “If I can’t have you nobody will,” just…it’s a shame. More in sorrow than in anger. That’s Brad for you: perpetually disappointed that no one but his boys will listen to reason. Disappointed, but not dissuaded: “I’m not gonna lose a second’s sleep about it,” he says to Elizabeth after informing her of his plan to murder Dalton should he continue to cause him trouble. What the hell is wrong with Brad? Other people.

The Complete History of the Joker

The Joker debuted in Batman #1, the Spring 1940 launch of the Dark Knight’s dedicated comic-book series; it also revealed the superhero’s origin for the first time and contained the first appearance of Catwoman. (Batman first appeared in a separate series, Detective Comics, which gave DC Comics its name and in which he still stars to this day.)

But the creation of the Clown Prince is shrouded in controversy, with the three men involved — writer Bill Finger and artists Bob Kane and Jerry Robinson — each offering a different account of how the Joker came to be. The exact order of events varies depending on who you believe, but in essence, the character was a hybrid of influences. Robinson produced a joker playing-card design. Finger provided inspiration in the form of a clown-face logo from Coney Island and, crucially, a picture of actor Conrad Veidt playing the disfigured, permanently grinning title character in the 1928 horror film The Man Who Laughs. Both Robinson and Kane, who for decades received sole credit for the creation of Batman, designed the character on the page, while Robinson and Finger helped develop the concept of the Joker as Batman’s nemesis. The result was a villain unlike any of the gangsters and mad scientists Batman and his recently added sidekick Robin had ever faced before.

I compiled the history of the Joker for Rolling Stone. I love these assignments because, in a culture that treats corporations and brands as creators, they’re a chance to give credit where it’s really due. (Yes, even to Bob Kane.)

“The Terror: Infamy” thoughts, Season Two, Episode Eight: “My Sweet Boy”

I’ve gone easy on The Terror: Infamy. No really, I have. As you fine A.V. Club readers and commenters have pointed out to me, last week’s installment, with its slapdash approach to how its characters handle for-certain knowledge of malevolent spirits, probably deserved worse than the C- I awarded it. As a horror guy, I can be swayed by shows that show a little bit of effort in that regard, and as such the gruesome opening skin-graft sequence was the episode’s saving grace.

This week’s opening sequence? It ends with a jump-scare crash-cut the moment Yuko the yurei opens her eyes—huge shock, I know, considering how we’ve watched this same undead woman skulk around, eyes wide open, everywhere from Oregon to Guadalcanal. Is it possible to telegraph a moment you’ve already delivered to the audience in triplicate? Apparently so, if you’re as misbegotten a series as The Terror: Infamy.

Speaking once again as a horror guy, something about that moment really…well, almost insulted me. Are we supposed to be that stupid, we horror fans? Are we supposed to be scared just because what we’re being shown has assumed the scare-shape of a moment that’s frightened us before in other, better work? The unexpected eye-opening resurrection beat is a bit that’s been done to death (no pun intended); are we supposed to jump out of sheer Pavlovian conditioning?

I no longer really care what we’re supposed to do, not in The Terror: Infamy’s case at any rate. Titled “My Sweet Boy,” the series’ eighth installment is a hodgepodge of moments that make no more artistic or narrative sense than expecting us to be scared when the undead character reveals that, yes, she is in fact still undead. It’s a trite, lazy, condescending mess from start to finish.

I reviewed this week’s episode of The Terror: Infamy for the A.V. Club.

“Succession” thoughts, Season Two, Episode Eight: “Dundee”

As if a giant clamshell washed ashore and birthed it nude and radiant from my mind’s own womb, this week’s episode of Succession felt like it was crafted to illustrate my argument that the show’s blend comedy and drama is fundamentally unworkable by the gods themselves. It’s an hour-length demonstration of how going for the cheap and easy laugh can neuter sociopolitical critique and reduce deft character work to hamfisted about-faces a daytime soap would look down on.

[…]

Anyway, I’m sure Kendall’s stupid rap is the toast of Twitter, right up there with the joke about j-school grads writing clickbait (“Ten Reasons Why You’re Never Getting Paid”) and a brief mention of the Democratic Socialists of America. In terms of middling political shows, Succession is The West Wing for people who’ve tweeted about how much they dislike The West Wing, and it just aired its answer to “The Jackal.” Tweet away.

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

“The Affair” thoughts, Season Five, Episode Six

In a way, this episode feels like “The Affair” mourning its departed stars. Seeing Joshua Jackson’s open, soulful face as Cole in flashbacks; hearing Ruth Wilson’s ragged, bottomed-out voice as Alison in voice-over; watching Joanie wrestle with her memories of both parents as if those memories were living things she must defeat in order to survive … all of it draws attention to the enormity of the contribution those actors and their characters made to the show, and the void left in their wake. After half a season of the Solloways and their circle of lovers, friends and family, the Lockharts finally get their due, and it’s long overdue.

I reviewed this week’s episode of The Affair, which I suppose is the one where I realized how much I miss Alison and Cole and how shaky I am on Joanie as a replacement, for the New York Times.

274. “That son of a bitch was afraid”

“You scared him last night. Brad Wesley, he’s not afraid of anything, right? Well, last night that son of a bitch was afraid. Have you ever seen fear in a man’s eyes, Dalton? Ever smelled fear’s musk? Ever felt the gooseflesh rise to meet your touch? You never forget it once you’ve seen it…smelled it…tasted it. It’s like a song that gets stuck in your head, demanding you return to your hi-fi to play it one more time. You played that song last night, Dalton. A familiar melody of terror, with Brad Wesley’s mortal body as its brass band. Sometimes I think it’s the sweetest sound I’ve ever heard—the sound a man makes when he looks you in the eye and sees nothing—no pity, no contempt, no mercy, no cruelty, just the cold dead fact that you’ve come to hurt him, and nothing he can do will stop the hurting from happening. Brad Wesley, he loves to taste the fear, doesn’t he? Well, last night you took that fear, warm and throbbing and oh so insistent, and you fed it to him. And he drank every drop, didn’t he, he gorged himself on the fear you inflicted until his guts were fit to burst. Have you ever seen a man’s guts, Dalton? Ever dipped your hands in another man’s body and squeezed whatever you found inside? Felt the incredible human machine, miraculous in its evolutionary purpose, begin to break down between your fingers? Well, last night I had a vision of you, Dalton, I had a vision of you, small as a churchmouse, lethal as the cobra, plunging your arms elbow-deep into man after man, pulling out viscous tubes and bladders rendered useless by your relentless probing. I saw you reach deep inside Brad Wesley and open up his works to the world outside. I saw birds, black as soot, fly out in a great gust, like the wind, like a firestorm. As I looked up, I felt their warm white shit rain down on me, covering me like a thin alkaline film. And when I raised my hands to wipe my face clean of their excretion, those hands pulled away hundred dollar bills, Dalton. I wiped and wiped and the money kept falling into my hands, until there was more than I could hold, until the pile of it reached my knees, my thighs, my sex. I was neck deep in cash, Dalton, and still I knew Brad Wesley’s body was somewhere in this deluge, and you were somewhere in Brad Wesley’s body, tasting its fear, rolling it around on your tongue, suckling on its terrible teat. Anyway, I’m looking forward to Wagon Days.”

273. My town

“This is my town,” Brad Wesley tells the Four Old Men. “Don’t you forget it.” And it’s true, as far as the numbers go. Brad Wesley got the mall, the 7-Eleven, the Fotomat—Christ, JC Penney is coming there because of him, you ask anybody, they’ll tell you. What do his opponents have? Red Webster’s Auto Parts? Not anymore. Strodenmire Ford? Not anymore. The Double Deuce? Only because Wesley granted it a reprieve and called off the fight between Wade and Jimmy. Emmett’s horse ranch? It won’t surprise you to learn that it’s next on his hitlist. Granted, there’s Big “T” Auto Sales, the nameless old man’s auto parts store, and an entire network of greasy spoons and dive bars, plus the boat store we can see from the Double Deuce’s parking lot, but as far as we know the Four are the only people who’ve put up any fight against Wesley’s protection racket. It’s a numbers game, and the odds are in Mr. Wesley’s favor. As of this moment, Jasper has been remade in his dark image. For Dalton, this means events will accelerate and escalate at an alarming pace as the transformation struggles to complete.

272. The Drawing of the Four

Boardwalk Empire, Terence Winter’s underrated Prohibition Era gangster drama, featured many real-world figures of underworld renown, though mostly at ages much younger than the ones at which they’d become famous. They’d be mixed in with entirely fictional characters, or heavily fictionalized analogues of actual people. Often you didn’t realize until halfway through a scene that, oh my god, that’s Lucky Luciano and Meyer Lansky and Bugsy Siegel and Al Capone all hanging out together. The resulting frisson was a thrill.

In his lamentable mega-series The Dark Tower, Stephen King officially introduced the concept of ka-tet, a group of people drawn together by the benevolent force that partially orders the universe for a specific purpose. I say “officially” because if you’ve read his work you know that this is a recurring feature everywhere from It to The Stand. Often the characters themselves recognize that something has happened when they’re all finally assembled together—that the final piece of a puzzle they didn’t even know they were solving has slipped into place, that the whole of them is somehow greater than the sum of its parts, that when faced with other people there’s a palpable sense of belonging and un-belonging. Great deeds can be done in ka-tet.

Here you see Emmett, Red Webster, Frank Tilghman, and Pete Strodenmire, together for the first time. Until now Emmett had never been seen off his ranch, and Strodenmire had only been seen one time before in total. They’re watching Brad Wesley walk away, having proclaimed “This is my town—don’t you forget it.” Red is about to bust Strodenmire’s balls by repeating what Strodenmire said to him after his auto parts store was destroyed: “You got insurance, don’t you?” Tilghman is, as always, very peculiar.

Yet something looks right here, doesn’t it? Something about this configuration of four weird old men staring into the middle distance rings true. When ka-tet is formed, how can any JC Penney magnate hope to stand against it?

 

271. Abuser

“You lost your faith, Strodenmire, that’s what it is,” Brad Wesley tells the walrus-mustachioed man who just wanted Jasper to enjoy Wagon Days, pinching his cheek like a child’s in the process. “It’s made you an abuser!” he concludes, wagging a finger in the man’s face. Thus is the gaslighting of Strodenmire by a man who infantilizes him, touches him without permission, browbeats him in front of his friends, and then destroys his property in an act of classic victim-blaming. Strodenmire’s eyes are remarkable in this scene, huge limpid saucers of anger and terror and, yes, confusion. Have I lost faith? Am I an abuser? In the time it takes Strodenmire to process the words of the man who is victimizing him, Gary Ketcham runs over his car dealership with a monster truck. “I never thought you’d turn on me too,” Wesley says when it’s all over. The message is clear: Look what you made me do.

270. Orson Welles for “Road House”

[inaudible] again please. We know of a little town called Jasper, in Missouri, where Emmett lives. Emmett who. Who is— […] What is the first name of this man Emmett. […] “Emmett” is his first name? What is his surname? […] Surname. Last name. Honestly, this is exhausting, my having to explain this to you. […] He has no last name. It’s just “Emmett,” is it? […] Well then how do you know which name it is? […] Yes it is. Yes it is important. How am I to describe the film amid such uncertainty? […] Then whose job is it, if not mine? I know my job, sir. I know precisely what my job is and isn’t, more than I can say for you. And your friend. […] If you want me to say “Emmett” I will say “Emmett,” I simply wish to be on record as stating it makes no sense. I’ve no wish to be held responsible you see. […] Fine. Fine. Are we ready? […] Exhausting. […] We know of a little town called Jasper, in Missouri—now you’ve done it again. You’ve added an “in” where no “in” need be. […] Jasper, Missouri. That’s— […] That’s—it’s more pleasing to the human ear to say Jasper, Missouri than it is to say Jasper, in Missouri. […] The English language. Do you say New York, in New York? […] We know of a little town called Jasper, Missouri, where Emmett lives. Emmett raises horses…raises horses. No, […] No, something does not— […] The sound of it. Raises horses. Too sibilant. The phrase sounds like the buzzing of bees. […] Well if you won’t change it then at least tell me you hear it. Indulge me if you would, please. […] Thank you. How very kind. […] Emmett raises horses on his little ranch, just across the water from—you know you will confuse people. […] The water, as if you expect them to know which or what water. Emmett raises horses—and I’m only proceeding under duress you understand. Miserable. […] Emmett raises horses on his little ranch, just across the water from this man. His name: Brad my God. […] You want me to launch right into his name right after saying the words His name. But you see if you massage it a bit— […] If you add a goddamned verb and massage it a bit it sounds much cleaner. His name is Brad Wesley. […] But I’m looking at the copy and […] Put down that ridiculous mug and pay attention! You want the emphasis to be on the sentence that follows: He is the most dangerous man in town. But you cannot emphasize that sentence as it’s written right now because you’re emphasizing his name. […] It’s before we are told what distinguishes him that’s the problem. […] Why are we leaping ahead all of a sudden? […] Well that is bullshit, I’m sorry, because I said it in passing. If you want me to read it and do what you’re paying me for then do me the kindness of allowing me to do a read of it. […] His name is Brad Wesley. He is the most dangerous man in town. Are you sure? […] Because […] No no, because it doesn’t match up with the footage at all. He is the most dangerous man in town and you have him eating breakfast. The least dangerous man in town no doubt eats breakfast as well. One should hope. […] So you see it does not distinguish him. […] Yes, I’ll wait. This day is beyond salvage whatever the case. […] [unintelligible] bit prosaic to show him with a gun when you’re saying he’s the most dangerous man in town. Prosaic and redundant. […] The picture and the words together tell the story and you have them speaking in unison as it were. From which school were you matriculated? […] Where did you go to school, to university. […] [prolonged exhalation] […] See, that’s it! Now you’re using your head, for arguably the first time today if you’ll pardon my saying so. If you show him in the car— […] What was that? Who was that, rather. […] My God how many people do you have back there? Must I answer to this new fellow as well? […] Don’t you see, New Fellow, don’t you see how much nicer it is to say he’s dangerous when he’s swanning about in his car than when he’s brandishing the pistol. The most dangerous man in town and he’s singing, what was it again? […] Yes, “Sh-boom.” […] Because everybody eats breakfast, that’s the issue. Not that breakfast isn’t dangerous. Everybody eats breakfast but here he’s weaving to and fro and singing and you’re saying he’s the most dangerous, it’s intriguing. […] No I’m sorry to interrupt but who is this? Who is— […] No, the dancer. The fellow with no shirt. […] Oh horseshit. […] No, I do beg your pardon but it’s preposterous, what you’re saying. The man is a dancer! […] His physique. […] One expects the bruiséd ear and uncertain gait of a prizefighter and this fellow moves like Nureyev. […] Sets him apart from what. From— […] … […] I’m listening. […] Yes, always. […] Well it’s absurd don’t you see. Don’t you see that the very idea of it would get you laughed out of Bellevue! […] Explain to me how one becomes a famous bouncer and I’ll whack the both of you off simultaneously. […] Another famous bouncer! Too much bouncing around here. You’re saying this famous bouncer has an— […] A mentor. How delightful for him that must be. […] If either of you gentlemen had had a mentor we might not be so utterly outmatched by this. Road House: A Roddy Herrington Film. […] What? […] His name is never Rowdy. […] His name is Rowdy? Rowdy Harrington, Herrington excuse me. […] Road House: A Rowdy Herrington Film. No, this isn’t worth it. […] You go again and I won’t be here because no money is worth it and [unintelligble]

269. In Search of the Lost Goon

Some men have a face that says “I can and will kick your ass, and I will be weird doing it.” In the ’80s and ’90s these men often found work as memorable goons in Hollywood action films, playing the heavy’s henchman, a mutant in leather bondage gear, someone who gets dispatched with a one-liner, you know the deal. In the case of Road House, one wore a sporty blue t-shirt and didn’t do much of anything.

The man you’re looking at here is Benny Urquidez, martial artist, stuntman, and fight trainer. He worked closely with Patrick Swayze and Marshall Teague to help choreograph the legitimately phenomenal fight scene between Dalton and Jimmy that will take place later in the film. Even though he’s just kind of in the background here, milling around with all the other goons as Brad Wesley prepares to order the destruction of a Ford dealership, he stands out. You know how I’ve gone on about how to be a good goon, you need to get introduced with a memorable shot or while performing a memorable action? Benny’s nameless goon whips off his sunglasses like a @dril character, revealing a distinctive beady-eyed visage beneath. He’s hard to miss, so hard in fact that the first few times I saw the movie my mind just filled in the blanks and conjured him into fight scenes in which he was not present at all.

Because that’s the thing: He’s not present in any fight scenes. He’s not present in any scenes period, except for this one. In a way he’s the heir to Karpis: He makes an impression and then <poof> he’s gone. Only unlike that dashingly handsome mystery man and possible Cousin in Memphis, his legacy lives on in the titanic struggle between an itinerant bouncer-philosopher and the chief enforcer of a guy who has his own reserved parking space at the mall. It is through Dalton and Jimmy that the Lost Goon may be observed, ripping throats from another plane.

268. Happiness Is a Squashed Ford

Gary grins from ear to ear. Jimmy does a double fist-pump. O’Connor raises an arm aloft in triumph. Tinker yee-haws his hat off his head. Pat McGurn and Morgan? They literally embrace. (Jimmy and Tinker merely clasp hands.) The Goon in Blue (about whom more later) is just happy to be there. And Brad Wesley acts like a game show host. Truly, the destruction of Strodenmire Ford by the coward Gary Ketcham is the high-water mark of villainous delight for the Brad Wesley organization. For once in their miserable lives they managed to get one over on their enemies in a way that did not require any of them to get their asses kicked. They didn’t even need to throw a punch, much less take one. They just had to get behind the wheel of a monster truck—one of them did, anyway—and drive on through to the other side. The rest take a joy in this of the sort you see in bars when the home team wins the Super Bowl. They are thrilled, inordinately thrilled, “the director overdid it” thrilled, to have watched a monster truck run over a car dealership. Did I point out that Morgan and Pat, the two orneriest cusses in the whole gang, hug each other, like one just announced his wife is expecting? This is the rough beast they gave birth to instead, haulin’ ass towards Bethlehem to put a little something down on a new car.

“The Terror: Infamy” thoughts, Season Two, Episode Seven: “My Perfect World”

“Your people made this mess. Now you gotta live with it.” Admit it: When you first sat down to watch The Terror: Infamy, billed as a historical horror story set in World War II–era internment camps for Japanese Americans, you didn’t expect the show’s thesis statement to come from the narcissistic bigot who serves as camp commandant. But there’s really no way around it. Major Bowen’s assessment of the evil presence stalking the camp is entirely accurate. Yuko the yurei is not the product of American jingoism, springing instead from the superstitions and beliefs of the Japanese community she menaces. I don’t think the makers of this show set out to imply that these poor people brought it on themselves, but how can the work they’ve produced be read any other way?

I reviewed the latest misfiring episode of The Terror: Infamy for the A.V. Club.