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Herkese Açık·10 üye

[S4E5] The Get Back !!TOP!!

Bringing Tribrid back into the mix was a welcome surprise. The show essentially forgot about this company that had very big ties to the mythology of Legacies Season 1, and now that this universe is more connected than ever, I suspect someone from the past could be a part of them.

[S4E5] The Get Back

I don't want to be greedy, but the only way I see this playing out is the remaining Originals banding together to ambush her, possibly with Davina crafting a spell that will allow them to switch her humanity back on.

Finally, Eve is set free and runs to a motionless Villanelle. Completely heartbroken and helpless, Eve tries to catch her breath as she cradles Villanelle in her arms. Both of them were shot that day: Villanelle in the back and Eve in the heart.

Their night is about to get a whole lot worse when we cut to see a herd of walkers piling their bodies against the car on the bridge and falling into the water. John wakes in the night to see them all coming up from the shore. He shouts for Laura and starts hacking away at them. Most fall into the ditches, but so many pile on top of each other that it allows for other walkers to walk unimpeded along their backs. Soon they become overwhelmed and Laura falls into a ditch herself. The dead are reaching for her when John whips out both his guns.

In last week's episode of The Handmaid's Tale, Rita made a big decision about the Waterfords and leaving her past behind in Canada, while June and Janine made a treacherous escape toward a murky future in Chicago. In this week's episode, the fifth of the season, the drama in Canada takes a back seat, as it's all about what's happening in Gilead and Chicago.

Aunt Lydia is back in Gilead after the handmaids' latest escape. While walking on a treadmill in an aunts common room, she sees new handmaids arrive outside. Excited, Lydia tells her apparent superior, Aunt Ruth, that she's recovered and ready to return to aunt service. To Lydia's dismay, Ruth implies she's been permanently retired. In punitive Gilead, it doesn't quite make sense that Aunt Lydia's only punishment for losing control of the handmaids again is forced retirement, but, perhaps, anything to keep Ann Dowd on the show?

Later, with Lawrence's scheme apparently fulfilled, Lydia is back in aunt gear, orienting new handmaids. As if that's what Lydia blames for June and Janine turning against Gilead, Lydia warns the handmaids that wicked men will try to lead them astray. She says she will help them through such trials, and adds that the handmaids' bonds with one another will be strong and they'll never again walk alone. Cue a troubling shot of handmaid subservience.

The episode opens with a flashback to an intimate pre-Gilead moment between Luke and June. Their love scene segues into June lying in bed in the Chicago rebel base, listening with disgust as Steven and Janine have sex nearby. Suddenly a firefight erupts outside the base, but Steven ignores it.

Later, June tells Janine she wants to leave the next day to find the Nighthawks. Fighting seems to be June's new primary mission. Perhaps she's decided the only way to get Hannah back is to completely burn Gilead down. Or perhaps she simply has Gilead blood-lust now.

The fifth episode of Stranger Things season 4 begins with Argyle driving the boys from Hawkins, IN as they escape the mysterious assailants chasing after them. As the agent looking after them is dying in the back, he tells the boys to find Nina since she can help them contact Dr. Owens and warn him.

Villanelle is still in Cuba being fed breakfast by Benita, who she learns, stays in the safe house because it's better than going back to her abusive husband. Her story inspires Villanelle to use her talents for good, taking out Benita's firefighter husband with his own hose (God, I've missed her creative murders) and a laundry list of abusive spouses who need to be removed from this earth. Sadly, Pam is no Villanelle, as Konstantin is learning to his utter confusion. High-end fashion doesn't entice her; ridiculous outfits look, well, ridiculous, on her. However, her circus friend, Darren (Josh Zare), gets her some proper clothes, even if Konstantin and a newly-arrived-from-Cuba Villanelle aren't so impressed.

Eve picks up Chloe from school and takes her to London. Despite kidnapping her, she can't bring herself to harm Chloe, dragging her along to track down Yusuf's lead on the photographer, Oliver (John Keogh), instead. Hélène is anxiously waiting when they get back, and Eve lets Chloe go. Eve sits down with the old super eight Oliver still had from 1979 and discovers Carolyn was dating Johan, but her phone buzzes with a message from Hélène. They meet up, and Hélène tells Eve she's found Lars, inviting her to come along. But they don't go to Zurich. Instead, they drive to Margate as Villanelle leaves Konstatin's flat. As Eve watches, Hélène gets revenge by having Villanelle shot through the heart with an arrow.

Killing Eve began in 2018 as a cat-and-mouse game, Spy vs. Spy, a throwback to the mid-century British storytelling that bought us James Bond, Secret Agent Man, and The Prisoner, except recast with women, written by and for women. The show was a pastiche, but it worked because of Sandra Oh and Jodie Comer's chemistry. (It also made some of the homoeroticism of these stories text, which was problematic.) Like her previous hit, Fleabag, series creator Phoebe Waller-Bridge initially meant it to be a one-season wonder and come back for Season 2 if the right idea hit.

There are only three more episodes of Killing Eve this season, two of which will air back to back as the series finale. The possibility is even more remote for those who hoped for a satisfying ending. Whatever the show thinks closure is, it has failed to understand what story Killing Eve was telling, who these characters were, or why viewers cared about them. Killing Eve is an interesting prestige TV era entry as an experiment in passing-the-creative-baton. But unless these last three episodes make a hard left, as a way to make a television show, it's turned out to be an abject failure.

Chalores' vision of the future involves hosts "transcending," a conversation between her and host William reveals. She isn't getting many takers for the procedure, as hosts "seem as wedded to their bodies as they do to the cities," William points out. Meanwhile, we see what looks like the procedure occurring in the background: A host's pearl is removed and put into some sort of white structure, which then begins to rotate.

When she gets to work, Christina's boss Emmett requests they talk in his office. He starts to question her -- asking if she's interacted with anyone new lately, and if she's ever thought twice about the nature of her reality. Christina gets him to back off by narrating his next moves out loud (he must be human rather than host), and sends him home to his partner.

Host William gets to the outlier first -- a woman on a rooftop looking out at the tower. She talks for a minute, and he listens, even letting her rest her head on his shoulder. Host William suddenly remembers what he's there for, but J arrives and shoots him before he can act. J, the woman outlier, and the others make it back to the boat safely.

Before her memory got wiped, Dolores stuck a copy of her own pearl into Chalores' head. Here's how we know: The show covers the Charlotte/Dolores hybrid situation in season 3 in a less-than-straightforward way, but it makes sense given that we see Dolores bring a host version of Hale back online in episode 3 (who doesn't know who she is), and learn that Dolores copied herself/her pearl in the following episode. We know that a version of Charlotte left the park with a Dolores pearl in its head during the season 2 finale, but a reset/new pearl seems to factor in during the third season, so this is the best explanation I can possibly give for the Charlotte copy we are seeing now.

Whether by choice or because Judge Munsinger made good on his promise to put her to work if he saw her lurking in court again, Kim is back at the courthouse doing some PD work. Her client is a young man who threw a cinder block through a jewelry store window and we get to see Kim wheeling and dealing with the always-entertaining DDA Oakley. The whole thing is reminiscent of Season 1 Jimmy, toiling away as a public defender and trying to build his business. It was a much simpler time, for him and for Kim, but Kim seems to take more pleasure in the work than Jimmy ever did.

Rebekah admitting that she is waiting for the cure so she can become human again was a great throwback to The Vampire Diaries and The Originals. There was mention of Hope being given the cure and to be honest I would quite let down if that happened. We have waited so long for this moment, that the idea that she could get her humanity back so quickly feels a little anti-climactic.

This sudden re-immersion into the last frantic days of Walter White's reign makes for a bracing and disturbing intro to the episode. This is where it's all headed, after all. For all of Jimmy's antics, for all of his one-step-forward, two-steps-back moral evolution, he winds up a functionary in the empire of a mass murderer, every last relationship with other people as shredded as the papers in his filing cabinet.

The man's long trip with Mike in the back of a van to their destination is filmed entirely from within the van itself, using a shot of the two men seated next to each other with their backs to the metal plating that separates the driver from the cargo. The shot itself never varies, but a series of jump cuts show us the same thing at different stages of the journey, using the changing quality of the light that filters in to convey the passage of time. It's a way to depict the tedium of an endless car drive with Fring-like efficiency. 041b061a72


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