Her Faustian pact of compromises and smugness is about to blow up in her face. Kiri goes missing and she is offhand with the police. She has no degree of urgency. Kiri’s birth father is suspected of abduction. Miriam feels no emotional discomfort and has a worrying lack of appreciation of reality. Kiri’s foster brother is resentful and jealous. Kiri is found dead. Miriam’s mouth hangs open in response.
Miriam has a dead son and a ghastly sick mother. I have withering impatience for Miriam and this. Miriam won’t take reasonability but she’ll probably get away with it and write a book like the obvious inspiration for this show: Sharon Shoesmith.
Kiri’s grandparents are grief stricken. One of Miriam’s co-workers babbles insanely. Miriam gets drunk and I don’t care about her emotional difficulties. This was not feelingful or astute. No explicit moral is tagged on. Miriam is provocatively unsentimental and only cares about herself and not Kiri’s death. All she cares about is her reputational hazard. This terrible with no dynamism.
“You put her in hospital.”
“A chaotic and dangerous parent.”
“Out till 2am last night for the third time this week.”
“Not safe to approach.”
Miles talks of impropriety and seems to be inciting a reaction. There is no sense of doom. The big old house is a marker of danger. There is no focused intensity. The governess is of modest bearing and goes on about moral strictures. Miles is disconcerting and all crypticness. Getty’s accent slides as Miles’ shows off his impertinencies. The governess engages in a domino of bad choices.
The governess has vision of a figure that looks like Riff-Raff from ‘The Rocky Horror Picture Show’. This was not as good as ‘Carmilla’. The soundtrack overdoes the synth music. Miles is vaguely aggressive and his hair is caked in brylcreem. This was dull, scarcely original and not as good as it could have been.
“Poor sad thing.”
“Not fit for innocent eyes.”
“Arrange your dress please.”
Illya pretends to be Japanese. People’s IQ shrinks. There are lackadaisical villains. Solo has unearned self satisfaction. The plot is gross triviality and involves the garment district. Nobody has moral leadership or moral messaging or moral high ground. This was earnest and leaden and all self-conscious seriousness and oblivious amusement.
This is a rank farce that is not deliciously mischievous. Solo jokes about Illya being a fashion designer. A joke that would pay off in the 1983 reunion TV movie. The dialogue is not exactly acidic. Cher treats Sonny with vague disgust and as a general blight. This was not smart, funny and unpredictable but it is okay with wit and attack. Sonny is hapless. People are menaced with a finishing iron.
Illya is dangled upside down in a bag and hit with a stick. Someone on the writing staff had a BDSM fetish. Solo the manwhore is rebuffed. Cher fancies Illya. Annoying kazoo music plays. Sonny wields a shotgun. Why are there gymnastic bars in a garment shop? Illya reminds Solo he is Russian.
How many third level institutions did Illya attend? Hideous 1960s fashions are worn. Thrush is stymied and while the artistic direction of season 3 can be debated, Sonny and Cher were amusing guest stars.
“Every deadbeat’s an artist.”
“Jump the rent.”
“Show you his oilfields.”
“Get a haircut.”
“A hundred dozen!”