Quentin learns that the author of the Fillory novels (Charles Shaughnessy) had sinister motivation. Eliot is a hub of misery, nihilism and hopelessness. There is no nuance or frission and Julia acts like a human garbage bag. Eliot, Penny, Quentin and Alice visit Plover’s house and learns of bleakness, callousness, unpleasant behaviour and ulterior motives behind a great bourgeois edifice.
Penny is outrageously insensitive and particularly crass. Quentin explains his perennial fascination with the much lauded Fillory. This show produces cavernously empty feelings. Nobody has forged authentic emotional connections. Quentin’s romantic notions of Plover are shattered. Eliot consumes a staggering amount of alcohol and has dissolute behaviour.
Major re-evaluations are needed. Julia has unthinkable hubris and seems to exist in a dull stupor. There are temporal sidesteps. The toxic sanctification of Plover will go on outside of Quentin and co. Where is Rupert Chatwin? This was okaish. Images that were but once a memory from the distant past lead to the true traumatic misadventure. Why is there a storm cellar in an English house?
“He was involved in some dark things.”
“Why won’t you let me in anymore?”
“No talking in the quiet place.”
“Hey, that was cool when it came out.”
“There’s no one to hear you.”
“You think it’s real?”
This had no sentiment or spectacle. Penny has visceral hostility and it is unending. Who is Josh? How did Julia just stroll into Brakebills again? This creates a paucity of interest.
“Actually it’s Margo.”
“There’s no one to reset it.”
Plover shows up again and is forgotten about. Eliot makes a choice. There is a joke about the low budget. Ember reveals something horrible about Julia and Richard’s summoning ritual. The Beast’s true identity is revealed. Josh and Victoria run off. Why? This dramatic deconstruction of the fantasy genre goes on. Quentin’s crazed desire for a destiny leads to a vortex of trouble. Julia reveals that summoning Our Lady Underground went wrong and that people died dispensable deaths and that she was very stupid.
What became of Kady? Gloomier extreme consequences ensued due to bad choices. Marina isn’t the great magician she thinks she is. Julia is a sordid footnote to the gang’s plan. She leaves bitter regrets and has no moral reasons. There is a spiteful coda to this ep which is a devastating portrayal of the wretched bleakness of magic. This was good and all despair, disillusionment and grim reality.
While this show didn’t enrapture it was okay. Julia wilfully destroys trust with her unequalled ignorance. The Beast and Julia leave the gang to die in the cliff-hanger. The Beast wears an ill-fitting suit. Julia consciously is awful and stands idly by during the sadistic spectacle. Will season 2 bring more disdainful silence from the selfish Julia and more mangled familiarity of the twisting of the fantasy genre?
“A master magician murder weapon.”
“Beautiful but false.”
“Payment is due. As is promised.”
“My life. It doesn’t work.”
“It killed every human thing in him.”
“I wanna make a deal.”
Billy Campbell stars and Ronald D Moore produces. Billy Campbell looks like an older Anthony Perkins. The ads for this were paranoia-inducing. A private research base owned by Arctic Biosystems has a retrovirus outbreak.
Alan (Campbell) has an estranged brother named Peter who is infected with the virus at the base. Alan, his ex wife (who slept with Peter), Sarah (who fancies Alan), an older woman and a solider named Sergio head up to the Arctic. An obvious baddie named Dr Hatake and his dirty looking adopted son lurk. This was goodish and intrigues.
There is black blood, black goo oozing out of a body bag, secret messages and an improbable escape. Sergio is cute and finds dead monkeys in the show. What is Sergio up to? Peter lurks and I am interested.
“We have no authority there.”
“Hard or soft quarantine?”
“Someone busted off this cage door. From the inside.”
“It’s not naturally occurring. At least not in this century.”
Equal And Opposite
“Excuses are the tool of the incompetent.”
“Don’t call me again.”
“Dirtier than dirt.”
“I’ll use scary words.”
“Nice safe mouth business.”
“I have large appetites. I like a full menu. Variety.”