Hardly a cowed victim, but shaken and traumatized, Arabella reevaluates and rebuilds her life after her attack. It was mostly luck, in the form of Beth, that let Team Torchwood win this round. Despite its timely trappings, Next works best as an empty-calorie thriller, with plot points that only hold together if you don’t think about them too much. To them, little Onion sometimes functions like a mascot. The new incarnation of the Doctor will travel much further afield. The husband is still unconscious and the wife, blood spattered, is still curled up and freaked out, disavowing any knowledge of what happened. Episode three, “Don’t Forget the Sea,” crucially plants the seed of the unexamined tension within Arabella and Terry’s friendship. But Coel isn’t simply out to demonstrate the many variations of sexual assault in the manner of a sex education video; rather, I May Destroy You examines how sexual, racial, and gender exploitation weave themselves into people’s identities and attitudes. Their hushed conversation is the kind of thing you expect on a schoolyard. And their sense of superiority informs Lovecraft Country’s most blackly comedic moment, when Christina objects to Tic comparing their group to the KKK by saying, “My father and his associates would never fraternize with the Klan. As soon as they break through to the alien level, that tension dissipates and new one forms: curiosity and fear replace revulsion at the pain they’ve caused. With a few exceptions, they’re primarily vehicles for shock and dire twists of fate rather than people to empathize with. “Sleeper” is not to be missed. Cast: John Slattery, Fernanda Andrade, Michael Mosley, Eve Harlow, Elizabeth Cappuccino, Evan Whitten, Gerardo Celasco, Jason Butler Harner Network: Fox. program known as Next achieves self-awareness and sets its sights on destroying humanity, beginning with a doctor (John Billingsley) who discovers its true intentions. Rather than the scientific and political perspectives of Komatsu’s novel and its previous adaptations, however, Japan Sinks: 2020 takes a markedly more personal viewpoint of the mixed-race Muto family and the companions they pick up along the way. When the second episode of the series replays many of these same overlapping events from the perspective of Caitlin Harper (Jordan Kristine Seamón), the repetitions don’t feel gimmicky so much as a natural result of the show’s densely packed structure. Beth can’t live with the guilt of millions of potential deaths, and she can’t live knowing that when her alien persona takes over, she won’t even remember feeling guilty. The series has its share of CGI monsters, from many-limbed creatures to undead spirits, but its most compelling visual scares involve the cold framing of remote manors owned by cult leaders like Samuel Braithwhite (Tony Goldwyn) and his daughter, Christina (Abbey Lee). You just try to cherish them and overlook their flaws.” The old woman responds: “Yeah, but the flaws are still there.” That exchange could be the thesis of Lovecraft Country, which eclipses even its source material in capturing the all-encompassing dread of Lovecraft’s fiction while at the same time confronting head-on the most problematic aspects of his writing. Throughout the series, these characters are mostly defined by archetypal qualities, with new ones introduced almost as soon as others are lost. She leaves, never to be seen again. She sniffs Beth and then hushes, then bows repeatedly, lowing, backing into the corner of her cell. The dead doctor was an old friend of F.B.I. And throughout these episodes, characters encounter gruesome objects connected to the order that hunts them, reflecting the long history of slavery and Manifest Destiny. The first five episodes of the series made available to press branch out from the central plotline to cover such topics as haunted houses and body transformation, which allows Lovecraft Country to change up its scares as well as broaden its allegorical range. After all, it’s hard to dissuade white people once they’ve decided who you are. What The Capture doesn’t have is the sense of violation that made 24 such an unmooring experience in its best seasons. Any blood, it seems, will do, and it’s certainly easy to imagine another context where another person like Brown points his fanaticism and violence in another direction. The result, despite no shortage of daring escapes, is a disaster story whose harried pace and reticence to grapple with hopelessness and pain renders it artificial, keeping us at an emotional remove. There’s a lot to be said for a show that lets you make up your own mind about how you feel about what’s going on. Copyright © Fandango. While having Bethan explain her inner thoughts can easily become a narrative crutch, In My Skin could have benefited more from Bethan’s reflective observations, which give us a deeper understanding of her often impulsive decisions. In addition to 24, which similarly pulled the rug out from under its audience with endless, sometimes ingenious reversals, The Capture also recalls Andrew Davis’s The Fugitive, as well as seemingly every jargon-laden investigative crime show on TV. She’s the only responsible member of her household, essentially acting as caretaker for her bipolar mother, Trina (Jo Hartley), and constantly at odds with her layabout, alcoholic father, Dilwyn (Rhodi Meilir). This is the first Torchwood episode written by J.C. Wilsher, but you’d never know it. Her relationships with her fellow teens remain stunted, and her potential coming-out journey takes a back seat to her need to care for Trina and insulate her from trauma. With the exception of a Skynet joke in the second episode, the series takes its subject matter very seriously, even when Next’s actions are particularly silly, like spreading office gossip or delivering petty insults. Conversations that were tangential and difficult to follow for the easily distracted Fraser are given clearer focus due to Caitlin’s more confident, pensive demeanor. Cast: Michaela Coel, Weruche Opia, Paapa Essiedu, Aml Ameen, Marouane Zotti, Harriett Webb, Stephen Wight, Natalie Walter, Adam James Network: HBO. Where Onion’s perspective is concerned, the series is a little shakier. The pacing was excellent, as was the injection of brief bits of lighter dialog to help keep the story moving and provide balance for the heavier emotional scenes. At first Janet’s her usual Weevil self, aggressive and screechy, but after a moment, her demeanor changes completely. Once again the team is on, competent in the face of the weird and threatening, and once again, Gwen is the team’s link to humanity. When Beth insists there’s no such thing as aliens, they take her on a brief field trip to meet Janet the Weevil. He spends much of the first episode of director and co-writer Luca Guadagnino’s We Are Who We Are in animal-print shorts long enough to function as pants, being restless and fidgety and a detached nuisance in that post-adolescent sort of way, taking pictures of people inside classrooms or running through the middle of a basketball game between recruits. Jack is the one who figures out where Beth has gone: to say goodbye to her husband, still in the hospital. The already traumatized woman is horrified by the video of her performance under the mind probe. The horror of Lovecraft Country, Misha Green’s adaptation of Matt Ruff’s 2016 novel of the same name, is at first all too real. That her personality shines through at all is both a testament to Creevy’s performance and the character’s determination to make a better life for herself, however misguided. Next throws in incongruous moments of emotional bonding amid the chaos, and the forced efforts to create an intimate connection between two of Shea’s team members are especially awkward. I May Destroy You doesn’t define its characters through moral dichotomies. A fter the entertaining fluff of “Kiss Kiss, Bang Bang,” Season 2’s follow-up effort hits hard. The first episode of the series generates much dread from Tic, Letitia, and George passing through towns as white people turn their heads in eerie unison and police cars seemingly materialize out of nowhere.
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