“The Terror: Infamy” thoughts, Season Two, Episode Nine: “Come and Get Me”

“Government property, in the middle of New Mexico???” You had to know this was coming, even if Chester Nakayama and his family did not. The moment—the moment—Yuko the yureiescaped the fire Chester set in that cabin in the internment camp a few weeks back simply by showing some hustle, I thought to myself “You know what kind of fire she won’t be able to escape?”

Sure enough, we’re now in the Summer of ’45, the Nakayamas are in a bunker in the middle of the New Mexico desert, a random British guy with security clearance is wandering around drunkenly celebrating mankind’s conquest of the laws of nature, and a certain vengeful spirit almost certainly has a date with nuclear destiny. You didn’t think a series as heavy-handed with history as The Terror: Infamy would let the specter of Hiroshima and Nagasaki pass by unmolested, did you?

I reviewed the inevitable penultimate episode of The Terror: Infamy for the A.V. Club.

“Mr. Robot” thoughts, Season Four, Episode One: “401 Unauthorized”

It starts with the death of a main character. It seems, at first, to end with the death of the main character. In between, it plays out like an eerie paranoid thriller against a backdrop of international corruption and capitalism run amok. Written and directed by the series’s creator, Sam Esmail, the fourth and final season premiere of “Mr. Robot” plays to all the show’s strengths and none of its weaknesses.

I reviewed the season premiere of Mr. Robot for the New York Times. I liked it quite a bit, which was a relief.

“The Affair” thoughts, Season Five, Episode Seven

Joanie, Joanie, Joanie. What are we going to do with your share of “The Affair”? The grown-up daughter of Cole and Alison Lockhart dominates this episode — which, given the strength of Noah Solloway’s segment, ought to be a compliment. But when Joanie seeks out and finds her mother’s killer, what happens manages to upend the show’s narrative apple cart so completely that it’s hard to appreciate anything that came before.

I reviewed this week’s episode of The Affair for the New York Times. It took a wild left turn and I did not come along for the ride.

“Succession” thoughts, Season Two, Episode Nine: “DC”

The chickens have sailed home to roost. Written by series creator Jesse Armstrong and directed by series mainstay Mark Mylod, this week’s episode of Succession sees the long-simmering cruise-ship sex-abuse scandal storyline bear fruit, as the Roys and their lackeys are called to testify before the Senate to answer for their crimes. Now, this is Succession, so you know ahead of time nothing will come of it. But the Roys are generally at their most compelling when they’re forced to pretend to be normal humans during the rare occasions when other people have a leg up on them, and this is one of those occasions. It’s worth taking a little time to savor.

I reviewed this week’s episode of Succession, which I liked better than most, for Decider.

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.