Everyone ready for a real, meaty, plot-driven episode? I sure am! Quick recap: last week’s episode ended with Hannah Gregson, the captain’s daughter, finding her roommate, Maddie, murdered in their home. Coincidentally (but probably not) this happened shortly after the two women met Sherlock’s creepy new friend Michael.
This week, even though Sherlock is struggling with a bad headache, he and Joan dive right into the investigation. Maddie was a teacher, well-liked, and didn’t have a boyfriend, so no obvious suspects there. But both Hannah and Sherlock think the body has been posed. None of her clothes match or look like the kind of thing Maddie usually wore. There’s blood on some of the clothes even though Maddie was bloodlessly strangled, and the earrings she’s wearing were forced into her ears even though she didn’t have piercings. Sherlock believes each item of clothing comes from a separate murder victim. It’s a serial killer’s announcement of his existence.
Based on the clothing, the detectives are able to identify all but a few of the original victims. The clothes are linked to murders and missing persons across state lines and several years. No one had realized until now that the murders were linked and unfortunately none of the cops on the cases had a primary suspect. But Bell finds something interesting. Most of the cases linked to the clothes are still open, but the watch that Maddie was wearing has DNA that links it to a closed murder case. A woman named Ashley Jenkins was strangled, much like Maddie, and her husband was charged with the case despite his insistence that he saw another man running away from his wife’s body. Gregson has Joan and Bell track down the few remaining unidentified clothing articles as he and Sherlock meet with Ashley Jenkins’s husband.
As Gregson and Sherlock wait in the prison to meet with Jenkins, Sherlock asks after Hannah and warns Gregson that a trauma like this could be a trigger for her alcoholism. Gregson, in turn, asks after Sherlock, noting that he looks sick, but Sherlock brushes it off.
Jenkins does his best to be helpful, but doesn’t have much new information. He thinks the man he saw running from his wife’s crime scene was tall and white, but it was such a traumatic moment and he’s since thought about it so much that he is no longer sure. That’s a small detail, but I appreciated the acknowledgement there that memory is tricky, especially in tense moments like that. Jenkins wants to know if Maddie’s murder and its link to his wife’s case is enough to reopen his case, and Gregson promises to do what he can. There’s one more significant thing. A few years after he was arrested, Jenkins received an anonymous letter from the killer apologizing for Jenkins taking the fall.
Meanwhile, Joan and Bell try to track down the earrings forced onto Maddie’s body. That leads them to a small boutique jewelry store. On the positive side, the store has a small staff and only sold a few pairs of the earrings around Thanksgiving time. The bad news is that the store is so small it doesn’t keep detailed records and doesn’t have security footage.
Joan returns home to find that Sherlock has set up a proverbial, and also, in this case, literal serial killer wall. Unfortunately, he has yet to see a pattern in the information. The victim profile is all female but otherwise all over the place. Jenkins’s letter was too mishandled to have forensic evidence, although, interestingly enough, it’s postmarked from Vietnam. Joan doesn’t have much else to add, except that a bank down the street from the jewelry store had exterior footage. Maybe the purchaser of the earrings walked by. Sherlock looks exhausted and Joan sternly demands he go rest in the sensory deprivation chamber.
She wakes up a short while later to find Sherlock, still dressed in the same clothes, watching the security footage. She’s angry he’d waste time like that when he could be resting, but it turns out it was no waste. He’s found the victim in the security footage and he recognizes her. It’s Polly Kenner, the young woman that Michael asked him to look for several episodes ago. You know, the woman that we saw Michael bury out in the woods.
Sherlock visits Michael at his home to break the news about Polly. When previously working on her case, Sherlock had assumed that she was simply in hiding after a relapse, and he’s visibly shamed as he explains he was mistaken. Michael plays shocked and grief stricken, but asks totally innocent questions like if they have a suspect and if they can keep him updated on the investigation.
But don’t worry. Sherlock isn’t fooled. As he leaves Michael’s home, Joan joins him and Sherlock says confidently that Michael is the killer.
Unfortunately, as they explain to an angry Gregson, they have no evidence. Michael is tangentially connected to two of the victims but he also has no history of violence, so it’s doubtful they can get a warrant on him. Joan has a file of basic information on Michael and when she hands it over, Gregson recognizes Michael’s car as being the one that clipped Hannah’s in the previous episode.
The next step is to bring Hannah in to interview her about the incident. A disturbing new detail comes out. The day after the “accident,” Michael called her and asked her out on a date to get coffee. Hannah had gone, only to receive a text that he couldn’t make it after all. She returned home to find Maddie dead. Michael had lured her out of their house to kill Maddie.
That’s still not enough for a warrant, sadly. But Sherlock has his own methods and he reaches out to Everyone, the hacker collective he’s dealt with in the past, for information on Michael, including credit and phone records. This proves Michael was in Vietnam when the note to Jenkins was mailed. Too bad it’s illegally obtained evidence.
But other evidence has to exist. Michael collected trophies from his victims and he probably didn’t leave it all on Maddie’s body. There might be more trophies in his house, so Joan and Sherlock decide it’s time for a stakeout. As they wait outside his home, Joan notes that Sherlock looks terrible and asks if he’s been taking his meds. No, it turns out he hasn’t; in fact, he threw them all out because he thought they were interfering with his work. Sherlock feels as if Michael took advantage of his vulnerability and blames himself for the resulting deaths. Joan leaves then and there to refill his script.
That’s a mistake, of course. Sherlock momentarily dozes and wakes to find Michael beside the car. Joan returns moments later to find no car and no Sherlock.
Sherlock wakes in a hospital bed, but looks unharmed. Michael is there and tells him that Sherlock tried to attack Michael in the car and instead passed out. Now, kids, gather around as its time for Scary Serial Killer Story Time!
Michael did not, as I theorized in a previous episode, start killing solely to attract Sherlock’s attention. He has had murderous urges his whole life, and in fact began using drugs as a way to try and self-medicate. When that failed, he entered recovery, where he heard Sherlock speak on the importance of using one’s work to help recover. Michael decided to do exactly that, although I found it a little unclear whether or not he had already started killing at that point or if Sherlock was the inspiration for him to begin.
However, when he re-encountered Sherlock and heard he was struggling, he really did pass on the Polly Kenner case in an effort to try and “help” Sherlock. In fact, he thinks they can help each other. Lately the high of killing hasn’t been enough for Michael and he’s felt tempted to use again. He wants to spice things up and thinks that having the police on his tail will do just that. Michael believes that he and Sherlock can help each other stay sober. You’re a real creepy dude, Michael.
Once Scary Story Time is over, Michael leaves without hurting Sherlock. Joan uses her pull at the hospital to check Sherlock out, but she’s not happy about it. He’s physically fatigued and in bad shape. But he still refuses to rest, because he thinks there’s a clue in something Michael said to him. He mentioned that the first time Sherlock called him, he had his “hands full” with Polly Kenner. Sherlock obtained Michael’s phone records from Everyone and Joan and Sherlock are able to use that to geo track where Michael was at the time.
The police, along with body sniffing dogs, check out the location. They almost instantly find Polly Kenner’s burial site. But she’s not there anymore. Instead, a creepy wooden mannequin is unearthed. Michael knew they were coming.
Sherlock, clearly upset, tells Joan he’s heading home to finally rest. Instead, he heads to some sort of club and meets with a shady dude. Everyone knows that anyone with an Eastern European accent in a crime tv show is shady. That’s definitely not a negative stereotype! Sherlock gives the man money and the man hands over—pause for me to yell angrily—heroin.
But don’t worry. It’s not for Sherlock after all. Joan returns to the brownstone to find Sherlock waiting with the heroin, untouched. He wants to dose Michael. After all, it’s not often that you know your enemy’s greatest weakness. It’s a horrific idea, and they both acknowledge that, but Joan is in.
The two stakeout Michael’s place once again, this time carefully checking to make the house is empty before Joan heads in. But as Sherlock keeps watch, he receives a call from Michael. He knows they’re breaking it, but it doesn’t matter. Michael has left New York. He wants to give Sherlock time to rest and get better before they resume their game of cat-and-mouse. Michael promises not to hurt anyone else until Sherlock is ready, and Sherlock vows to put Michael in prison. As Joan searches Michael’s home, she finds it completely empty except for a camera. He’s really gone.
The episode ends with Sherlock leaving the brownstone, bag in hand. He’s finally taking his doctor’s advice and taking a rest to try and get better…although he doesn’t seem optimistic about it working.
- It felt good to sink into a very plot heavy episode this week. I think episodes like this prove that Elementary doesn’t have to completely follow a procedure format of murder > investigation > solution each week. It can sustain an episode that creates tension and story without necessarily having the clear cut solution of catching the villain in the end! I wish we could see that more often. I like a good filler episode too, but these plot heavy episodes are always the best.
- Sherlock tells Joan at one point, “I’ll sleep well knowing you’re on the case.” That’s the good stuff, man, that’s what keeps me coming back!
- Sometimes I think that Michael is too creepy and that surely someone in his life would think to themselves, “This dude is so creepy, he’s probably murdering people, right?” But you know what, actually, I think Michael is a great casting choice. He does ooze creepiness, but he’s also such a quiet, bland, soft-mannered white dude that in real life, no one would ever suspect him. No one would even look at him twice. Before this episode, even in this episode, I had moments where I wondered if it would turn out it was a misunderstanding and he wasn’t really the killer. That’s exactly what you’re supposed to think.
- The idea of serial killer and detective playing cat-and-mouse is a little cliche. Elementary has actually dismissed the idea of the ingenious serial before, way back in the early seasons. And yet, I’m still excited and curious to see where this goes. Sometimes, it’s not about doing something new, it’s doing something old in a fresh, new way.
Images courtesy of CBS
Honest Conversations and Unfortunate Insensitivity on Cloak and Dagger
Content Warning: This review discusses suicidal ideation and attempted suicide, as depicted on the show.
Last week’s episode of Cloak and Dagger ended with Tyrone and Tandy together and finally ready to discuss why exactly they have new superpowers insistent on bringing the two of them together. Both their lives have been tossed upside down, and the only consistent thing in the tragedies of both their lives is each other. Maybe it’s time to sit down and talk about it? That’s exactly what “Call/Response” did this week. Unfortunately, to mixed results.
Time to Talk
“Call/Response” continued Cloak and Dagger’s attempts at interesting episode structure by weaving together forward plot momentum in and out of the previously mentioned conversation between its heroes. This conversation lasted through the entire episode as Tandy and Tyrone hashed out what their powers are, what they do, how they experience them, and what their dreams from last week meant for each of them. These two had a lot to talk about.
For a good 90% of this conversation, I liked the direction of it. The honest and open-ended nature was refreshing. For the first time since they acquired their new powers, they held nothing back regarding what had changed, what they were going through, and how it affected them.
It moved both characters appreciatively forward. Even better, you could see how the conversation positively affected both in the scenes from the next day, when both acted on everything they discussed. Cloak and Dagger thus did a good job timing subjects of conversation with next-day action. Like you’d expect, these scenes were not exactly subtle about it, but so long as the point is made what does that matter?
Through their conversation, Tyrone and Tandy finally started acting against their instincts. They challenged their perceptions of the world. Tandy made an honest effort to learn about her mother’s boyfriend Greg and found out he was genuinely interested in her mother and trying to help. She made an effort to embrace the hope she always rejected before. Her experiences have shaped her towards cynicism in everything. Life is a giant scam where everyone uses everyone else to get ahead, and you see this in her own method of making money. For her to open her mind to the possibility of Greg proving her wrong was a significant step forward.
Tyrone faced his own challenged perceptions, naturally based around his brother’s murder and murderer. He considered Tandy’s argument about his place in the world and where his privilege truly stands, as well as the destructive path his actions led him down. The failed trip to the police station was one important step, but the truly important moment was his field trip with his father to Otis’s old Mardi Gras Indians stomping ground.
(By the way, add another cool twist on New Orleans culture to Cloak and Dagger’s credit.)
Through this trip, Tyrone found new perspective on his father and brother, as well as his own anger. His father stressed the importance of finding a channel for his anger. And he might have found his way via the suits the Mardi Gras Indians create, and the taking on of his brother’s unfinished suit. Tyrone needs this outlet and focus for his anger. He struggled with it throughout the first three episodes, even to the point of trying to shoot Detective Connors.
Even better, all this character development provided the biggest plot movement yet. Tandy’s determination to get along with Greg led to direct involvement in the Roxxon lawsuit he represented her mother in. It also led to Roxxon killing Greg for presumably getting too close. There should be no escaping the consequences of Greg’s death. Tandy’s mother will suffer. Who knows whether her determination to take the corporation down will wax or wane. Tandy herself visited the burned office to retrieve documents from Greg’s safe, so she certainly won’t let this go.
Tyrone’s plot movement was not so direct, but still meant something. He learned of his brother’s training to be a “Spy Boy” for the Redhawks, a role in Mardi Gras parades involving moving ahead of the Big Chief but was described in this episode as someone responsible for scouting the unknown to seek oncoming trouble. The unfinished suit Tyrone adopted also largely resembles the signature look of Cloak in the comics.
And of course now you also have to wonder if Roxxon will involve themselves with the Redhawks.
There was definitely a lot of good content in this episode. At this point Cloak and Dagger is close to establishing a base quality that this episode certainly matched. Unfortunately, the end of the episode left a real sour taste in my mouth. One reason due to plot, and another for some poor handling of a very sensitive subject.
Insensitivity and Stalling
You saw the content warning, so let’s dive right in. The episode-long conversation between Tandy and Tyrone breaks down at the very end, when conversations about privilege turn into insults and eventually lead to Tandy admitting to suicidal thoughts. In his anger, Tyrone tells her that if she wants to die so badly, she should just do it.
The next day, in the aftermath of Greg’s murder, Tandy restrains her hands and feet and jumps into the ocean, clearly planning on killing herself. She eventually resurfaces when her powers trigger and she cuts the ropes binding her hands.
I will say this: my final judgment will depend on how this is handled moving forward. Right now it feels like a really cheap use of suicide. There are some things you must always take care to portray responsibly when telling your story, and this did not feel like a particularly responsible way to handle Tandy’s thoughts of ending her life. I worry this was nothing more than an attempt to end the episode with high drama, and that the distasteful implications are unrecognized.
Now, we do need to see where it goes from here. If Tyrone recognizes the terribleness of what he said and apologizes for it, and there’s a genuine effort to understand the mistake he made, this can pass by without issue. And it’s not like the idea that Tandy might have suicidal thoughts came from nowhere. Considering her immense survivor’s guilt and lack of connection, I can certainly understand how thoughts of suicide enter her mind. Thing is, I don’t think you can just throw it out there, have a main character yell at her to just go ahead and kill herself, have said character try, and then move on from it. It all happened so quick and dirty that I can’t help but feel like it may have just been there for drama.
I hope it’s needless to say that using suicide just for drama is an awful idea.
Cloak and Dagger needs to follow up respectfully on Tandy’s attempt. Suicidal tendencies are a serious concern that must be handled delicately and with a purpose. And unfortunately, this is an easy fallback too many shows rely on without the proper care needed. I hope Cloak and Dagger doesn’t.
My second, lesser, and plot-related concern is the argument that led to Tyrone’s insensitive words. Namely that, to me, it came completely out of nowhere. The two of them spent the entire episode having a calm, respectful discussion. Even sensitive subjects between the two caused little drama. Then all of a sudden a piece of genuine advice blows it all up and leads to an unnatural argument over privilege. Which leads to Tandy mentioning her suicidal thoughts and Tyrone’s comment.
This development renewed my worry from last week over these two being kept apart too long. It seems clear that the real, ground-shaking forward movement on Cloak and Dagger won’t take place until Tandy and Tyrone unite. “Call/Response” spent 90% of its runtime heading in this direction. Then it all fell apart.
I certainly understand how a conversation over privilege could lead to heated tensions, especially with backgrounds like Tandy and Tyrone have. Still, this felt so artificial. It almost felt like Cloak and Dagger attempting a superficial, ham-fisted discussion of privilege without any real meat. The main goal seems to be keeping the two main characters apart. It’s the absolute worst attempt the show has made regarding the privilege debate. Scenes like Tyrone walking into the police station and looking around, only to find a sea of white faces, speak volumes more than this conversation did.
While we’re certainly not back where we were at the end of the second episode, we’re a little too close for comfort. Both characters seem like they will tackle the plot alone. And you know they will tackle it ineffectively. The whole idea (at least to me) is that they won’t truly make progress until they team up. I’m also reaching a point where I will start to distrust the moments where they appear ready to team up if this goes on for too long.
In one moment, they undid a great deal of the work the 40 minutes before hand strove hard for.
I’m all for character development, but here’s hoping Cloak and Dagger avoids this mistake in the future. And here’s hoping Tandy’s suicide ends up as more than a way to create drama feeding this mistake.
- I was delighted when Greg turned out to be a good guy. Damn shame they killed him in the same episode he turned out as such.
- Tandy’s mother is seriously tragic. I worry we’re heading in a self-harm direction with her as well.
- I also loved learning more about Tyrone’s father, Otis. He seems to harbor a lot of the same barely repressed anger that his son does. I hope we get more of him and his history with the Redhawks.
- Roxxon is still paying for the rights to the plot of ocean with the collapsed rig. This suggests to me that whatever gave Tyrone and Tandy powers still slumbers beneath the water.
- Sometimes Tandy and Tyrone have some really good banter…and then sometimes I wonder how it can be so off.
Images Courtesy of Freeform
The Expanse Wanders Among The Wreckage
The Expanse is on its penultimate week, and with an episode called “Fallen World,” showed us the aftermath of a disaster.
When the episode starts, Holden is unconscious, so Bobbie picks him up and they head towards their shuttle. However, she realizes the speed limit might have decreased after her commanding officer threw the grenade last episode, and tests it. Turns out she is right. They get out and stabilize Holden. However, many Martians and Earthers are both dead on their ship, as the quick deceleration was a massive shock.
Naomi survived, but her skiff is no longer able to move, so she abandons it and steps into space. Drummer and her first officer are both pinned by heavy machinery, and have to cooperate to get out of the situation. Anna wakes up and goes through her ship, watching the scores of dead people. Those who are bleeding severely are lost as well, since in zero gravity, there is apparently no way for the blood to drain. One would expect they’d have some sort of vacuum pumps for that, being a space-faring civilization, but whatever. Anna is horrified and offers her help, being a trained nurse.
Holden’s brain scans show frenetic activity, but he’s not waking up. A MCRN soldiers feels like Bobbie is more loyal to him than to them, and suggests she kills him, because dying might be the best fate for him right now.
Drummer and her first have now gotten to the point of sharing life stories and singing together, since they are out of viable solutions for their situation.
When Clarissa wakes up, she think she successfully killed Tilly. But as Anna is helping fix her broken arm, Tilly contacts Anna on her hand terminal. Anna goes to find her, and Tilly tells her what happened before she dies. Clarissa, meanwhile, escapes the ship just as Anna catches up with her. She is left screaming that, “she cannot escape, only beg for mercy.”
Naomi arrives at the Roci and finds Alex, mostly all right, and Amos, who was hit in the head with a heavy tool and so is less alright. Drummer’s first starts coughing blood from his punctured lungs. For some mysterious reason, Drummer decides that means she should sacrifice herself, even though from what we have heard, doing so gives him a really low chances of survival. Still, she moves the machine back onto herself, freeing him, and he calls for help.
Clarissa reaches the Roci and manages to get inside. Naomi hears the impact and goes to check what is wrong. Clarissa tries to kill her—of course she does—but Anna, who apparently followed Clarissa, saves Naomi.
Drummer’s first, after hearing about the large number of wounded they have, gives the order to spin the drum of the ship, creating artificial gravity. They are unsure it will work, but they manage successfully. The first, who is not the captain, then opens a channel to other ships around them and invites everyone to transport their wounded to their ship.
MCRN seems to have more stupid ideas about how bad it is they are being saved by the “skinners,” apparently a name for the Belters. Bobbie effectively tells him he is an idiot and goes to see Holden, who woke up, and now tells her he had a vision of the end of everything.
Overall, this was another good episode with solid pacing and clear progress forward. But there were still plenty enough things left that bother me.
First and foremost among them would be the storyline happening aboard the Martian shuttle. For one, the MCRN marine was acting completely ridiculous. The Expanse has always had trouble with depicting the less open-minded military types with any nuance, but this might be a new low. In particular, I am talking about handing Bobbie the gun to shoot Holden.
It made no sense at all in context: their orders were to bring Holden in. I don’t expect MCRN tortures their prisoners, so the argument with “might be the best for him” hardly made sense. Most of all, it felt like a test for Bobbie, but if so, it was a test of a kind I’d expect to see in Star Trek Discovery‘s Mirror Universe, not among the Martians. The Expanse show adaptation has always depicted the Martians worse than the books do, and this continues in the same vein. Bobbie is gaining the very uncomfortable overtones of being the “one good apple.”
On the other hand, Bobbie’s own role here was scarcely better, particularly her strange obsession with Holden. She is acting like they became best friends in the first half of this season, which is definitely not something I noticed. No matter how ridiculous the marine’s desire to have Holden shot was, he was perfectly right that it looked like Holden was controlling the protomolecule. We know it was because Miller was controlling it for him, but Bobbie doesn’t.
At the same time, it doesn’t follow she would immediately jump to the conclusion that Holden is a villain. He could be controlled by the protomolecule. In fact, he was, to a degree. Or, he could have simply gone insane. Once again, he had in a way. There are many possible explanations that don’t lead to wanting to have Holden executed, but which at the same time don’t lead to Bobbie insisting to her marine crew that, “Holden wouldn’t do anything wrong.”
It is doubly irritating because this is Holden of all people, everyone’s personal favorite white boy. Of course she would be all up in arms about him. Meanwhile, women of color were in danger or outright killed left and right this episode.
Speaking of which, Drummer. On one hand, when we first saw the situation she was in, I was worried it would develop into a mutual attempt at killing the other and saving themselves. I am truly, deeply grateful it didn’t. And even the idea of her sacrifice could have been a brilliant one, really, in the right circumstances. The way it played out here, however? Just after it is implied her first has a low chances of survival, without any particular indication that she is in serious trouble herself? It just feels very much like, “all right, the brown chick was the captain for a bit too long, time to give it to a white guy.”
The scene between them was acted excellently though, I have to grant them that much. Naomi was very good this episode as well, and were her Rocinante boys.
The one character who continues to be a disappointment is Anna. Her very last intervention was badass to be sure, but it’s not the kind of strength I expect from Anna. She’s not there to beat people over their heads. And until that moment, she was as insufferable as before. The most ridiculous moment was shouting after Clarissa. I understand she was meant to be upset, but it just looked stupid. Tilly repeating Anna was “very good at this,” meaning her pastoral duties, only made me roll my eyes once more. Show, don’t tell, please. At this point, such assertions about Anna are about as convincing as all the characters telling Tyrion he was clever on Game of Thrones.
The season finale next week is a double episode. At this point, I feel like it can go in many different directions, and I am all impatience to see which one it goes for.
All images courtesy of SyFy
Reverie Sows the Seeds of Doubt
Last week’s episode of Reverie ended on a cliffhanger. Mara realized that she wasn’t actually at her late sister’s house, talking to her late niece (she was actually pretty sure on that last one). This leads to an obvious question: where was Mara, really. Unfortunately for her, she was in the middle of a road, with a car on its way. Before the car runs her over, Mara is saved by a mysterious man who knows her name. Turns out Mara’s savior is Oliver Hill, who claims to be suffering from de-realization as well. Hill has been following Mara, out of supposed worry. Before Oliver was a concerned stalker, he was a founding partner of Onira-Tech. He has something to explain to her, but he needs food first.
Oliver Hill V. Onira-Tech
Reverie spends about half of the episode providing two arguments for what’s really going on. Oliver argues that Reverie 2.0 is inherently flawed. He claims that he and Mara, being the two people who have spent the most time in Reverie 2.0, will be representative of the general population. In his version, Charlie is Onira-Tech’s unthinking bodyguard who hates Oliver. The medication that Mara has been given is supposedly useless (which is not a great message, especially when paired with Mara’s previous trashing of her meds). Oliver tells Mara not to tell Onira-Tech about their conversation, but that lasts for about 3 minutes. Mara is scared and she needs answers, and she tries to test Oliver’s claims against Onira-Tech’s personnel.
On the other hand, Onira-Tech claims that Oliver Hill was unstable. Charlie claims that Oliver is dangerous. Paul shows Mara Oliver’s brain activity, explaining that he had issues before Reverie 2.0. Alexis tells Mara that her partnership with Oliver was founded in a romantic relationship. That relationship went badly, and Alexis doesn’t want to be defined by that failure, hence his erasure from the company.
By the end of the episode, Mara agrees with the latter form of events. She seems to be finally persuaded by Alexis’ detailing of her and Oliver’s romantic partnership. However, it’s not clear that the narrative agrees with Mara. Mara doesn’t know where to turn, and Reverie loves drawing tension from that. It thrives off of Mara’s (and the viewer’s) disorientation.
It’s certainly clear that Oliver has other plans, since he offers to buy a Reverie system at the end of the episode.
This episode also included a client of the week. Part of the reason the Onira-Tech team started out the episode on edge was a theft within the building. Someone stole a copy of Reverie, and modified it into a form of “Dark Reverie.” The “Dark” version doesn’t have restrictions. Our client of the week, Glenn, is using it to plan a heist. Since last week’s episode involved a bank robber, it’s likely Glenn needed the jailbroken version for the detailed specifications.
Glenn is a man with a stereotypical form of OCD. He avoids daylight, and hates the color blue. In a twist that should not surprise the viewer, Glenn doesn’t want to commit the heist for himself. He’s been watching the single mother and son across the street. The son has a rare disease, and Glenn wants to save his life with a trial drug. Despite mostly living inside, Glenn’s motivation is that he feels like part of the pair’s family. This entire plot feels like a math problem. Sick kid + adult with stereotypical OCD + moral heist = episodic plot.
Glenn offers to sell out “Dark Reverie” sellers and give his system back on one condition: help him do the heist. Mara complies, but Charlie and Monica have other ideas. Instead of letting Glenn steal the medication, they make a deal with the medicine company CEO. The heist goes through, but is spinned as a test of the company’s security system. Glenn gets the meds for the kid, and doesn’t get a felony on his record. Smiles all around.
Reverie‘s season arc plot wildly outstrips its episodic plots. This week’s episodic plot was probably the worst so far. However, the arc’s plot twists easily, without feeling gimmicky.