V says he will give the viewers two years to show improvement in their work as humans. But it was the people who elected them the people could have stopped them, but they had no spine or pride. He says the management is bad, comparing the Leader to Hitler, Stalin, and Mussolini. V’s video continues in Chapter Four, and V continues the workplace analogy, meanwhile showing images of warfare and impoverished children. He speaks as if he is a boss addressing an employee he is about to fire, saying humanity has slipped and he’s thinking about letting it go. The video broadcasts across London, showing V sitting in a chair. He kills more people on his way to the broadcasting room, where, revealing a dynamite vest, he makes the staff play the tape he has brought. On February 23, three men at the TV broadcasting studio at Jordan Tower are watching a racist propaganda video when V arrives and kills them. As Evey narrates about her conflicted decision to take Dascombe up on his offer to take her out, V goes to a movie theater, where he removes and rolls up a vintage movie poster. He reaches out to her and she runs from the house. She enters a house and grows terrified when she sees a man lying on the floor. Meanwhile, Evey wanders dark, rainy streets. But she is alone and needs help things look different as a widow. Rosemary narrates, addressing Derek, saying no one seemed interested, except Roger Dascombe, who held her hand too long and made her feel sick. She reaches out to him and pulls at his cloak, revealing a coatrack and tape recorder playing his voice.Ĭhapter Two opens with Derek Almond’s funeral. He suddenly says he isn’t her father, because her father is dead. V asks where they are and repeats lines from the Enid Blyton book he previously read her. On the street Evey feels cold and removes her blindfold to find they are on a deserted street. He replies by donning his cloak and asking Evey to put on a blindfold and come with him. Evey grows anxious and stammers about her curiosity about why V doesn’t try to sleep with her. Or, if crazy is where they want to go, then I’d like to see them just push whole-hog into that arena, rather than awkwardly straddling the space in between two types of shows.On January 5, 1998, V puts on a magic show for Evey, showing her a trick in which he makes a rabbit disappear from a cage. I’ll just be very glad to see the back of this opening arc, and to see this creative team forge ahead taking advantage of this specific setting and the way their writing and these actors have shaped the characters. (Gus breaking Sonya out of her funk with his profession of romantic interest was a really nice scene.) There is a lot here that works. Before we discovered that Alma was sleeping with the killer, the Ruiz family drama was among the better examples of its type, when often family strife in a workplace series like this feels clumsily inserted. Graciela, Fausto Galvan and Linder are all strange, memorable pieces of the puzzle whom I enjoy in most contexts. I love watching Frye and Adriana, whether together or separately. I think the three main cops are terrific characters (and Cooper’s interesting, even when he’s being cruel to Sonya). (And what are the odds that Marco never happened to come by Alma’s office and got a look at some of her co-workers?) Despite the occasional undercurrents of weirdness, “The Bridge” feels pitched at a level of reality that can’t sustain something like this, which feels like it belongs on a different, much crazier show. That Tate, or Hasting, or whatever we want to call him, has spent so much time getting so close to Marco’s wife, and his life, makes me even less interested in seeing this play out than I was before. Perhaps in the original, the killer having revenge in mind against one of the two lead cops, and spending six years on a macabre, Rube Goldberg-ian plan of revenge, played better here, it feels like the most insane contrivance yet in a season full of too many coincidences and too much strange behavior. I haven’t seen “Bron,” but I’m told by viewers who have that this more or less follows the killer’s story from that show. I’m pleased we’ve gotten to the Butcher’s identity in only the season’s eighth episode, because I don’t think this mystery has been the show’s strong suit, and the revelation of whom the killer is and what’s motivating him only underscores that. A quick review of tonight’s “The Bridge” coming up just as soon as I cheer for pants…
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