Nobody listens or cares to listen to Arthur. Nobody examines the internal logic of their actions. Philip emotionally abuses Mary some more. The family are all spiritual decay and moral depravity. Arthur looks homeless and haunted. Mickey is violent. There is heartache, betrayal, regret and injustice.
Mickey does nihilist gloating. There are dark modern resonances and fearsome things. Jack doesn’t have a gravestone. Mickey has oafish contempt and TPTB make no apologies for the darkness or bleakness or swearing. Flashbacks reveal how Rachel never knew how to feel or show love. Arthur’s frosty reception and Mickey being personally hostile to him was not a careful and strategic choice, it only emboldens Arthur to make himself heard.
The family at last accept that Jack didn’t carry out the explosive act of revenge on his awful adoptive mother. Mickey swears as Philip evokes hostility in him. The family are not people of goodwill. Philip brings no joy to anyone. Gwenda eats grapefruit in the 1950s. Is that possible? Mickey is disproportionately hostile to the deeply grim Philip.
Someone is feverishly plotting Philip’s downfall. Did Mickey and his adoptive sister Christina have a relationship? Why did Christina give up her bed-sit in town? Philip is a sad, angry suckhole who is unembarrasable and he has trademark windbaggery and oozes smug. There is judgmental cruelty. Arthur has indignation and fury. Local children hurl abuse at Christina. Philip is overly opinionated and has a sense of mischief.
There are no rapturous reminiscences of Rachel. Gwenda has been planning her uptrade for a while despite being of no personal distinction. Mary broods. The aura of mystery hovers. Leo is ponderous. There is angst and peril. The creepy cooper tries to get rid of Arthur. Why does Leo run a daycare centre for his deadbeat children? Mary dances attendance on her openly hostile husband. A white grand piano is played. Philip makes out with a sister in law.
People mock Arthur’s tragic backstory and try to discredit and damage him. The maid freaks out. The house has a nuclear fallout shelter in the basement. Leo won’t listen. Flashbacks show how Jack walked around naked and may have been framed after making hints of abuse and getting a prophetic threat. They also show how Gwenda was Rachel’s secretary and how she wore more clothes in the past. Meanwhile Hester is a creepy disturbed woman. There is lots of swearing and some bad ADR.
Christian Cooke looks like the lovechild of Ant and Dec. There is smoking and Gwenda demands a ring on it. There is more smoking and Mary is an awful person who has sibling rivalry. It is still not explained how Philip gets around the non-wheelchair accessible house. Arthur reveals he worked on the Fatman and Little Boy project. Rachel did something the day of her murder. But what? The closing scenes show another murder which is disguised as a drug overdose and the murderer is strongly hinted at.
“Just blood and teeth.”
“I HATE YOU! I HATE YOU!”
“Riding Leo like a seaside donkey while Rachel was still alive, probably on this sodding table.”
“Hurling her shoes at children.”
“Driving his car at me.”
“Who I thought was my friend.”
“Gentleman of the road.”
“He’s just a jumped up copper.”
“A good war would sort you out.”
“Try so hard to appall me.”
“The rest of you just turned up!”
“She is the tea girl!”
“What you are.”
“Keep you reasonable.”
Edge makes accusations and has a desire to be noticed. How did he get away with the lead poisoning and attempted murder? Sam seeks reassurance and is afraid of the response she might invoke. There is a mention of Maxwell Lord, but no mention of where he is. James has an emotional response to Lena being poisoned and tries for genuinely terrifying. There is an arranged obviousness. This ep was gravely disappointing.
Fake Hank does a liberal speech. People lie to Lena. TPTB ignore the alien threat to bring back Lillian. There are more fierce liberal polemics and cultural and political sanctimony. Lena gets a glimpse of the abyss and ponders destiny. There is no intriguing new resonance. There are dumb VFX and Winn is useless. Mon-El takes over the show and armed vengeance is threatened.
Sue (Miranda Richardson) works at a magazine and her boss/lover (Anthony Stewart Head) is pushing her out the door so he can boff a trainee and give her Sue’s job. Nobody has tact or gentleness. Sue screeches and is a youth-obsessed harpy. There are lies and Sue SHOUTS. Her lover and his bimbo mock her and Sue’s co-workers ignore her as she’s pushed into aggrieved obscurity. Nobody is particularly joyous. Linda opens the door to some bag lady who screams and makes accusations.
“Better off without that bastard.”
“All I wanted was to be put first once in a while.”
“Don’t have the money to spoil him.”
“You’re no longer relevant.”