Sherlock brought out the second episode of its sixth season, “The Lying Detective”, on Sunday. While the previous one was bad, this was actually a good piece of television. It makes its many issues all the more jarring.
John has a new therapist, and while in session, he neglects to tell her he has hallucinations of his dead wife. He does discuss how he’s sure he wouldn’t have missed Sherlock trying to contact him if he had done so. Just at that moment, a flashy sports car appears in front of the door, pursued by the police.
We cut to a meeting room where Mr. Smith, a millionaire and philanthropist (no word on genius, but probably a playboy too), tells his most trusted friends and his daughter Faith that he needs to make a confession to them, but that he’ll drug them so that they forget it. The confession is that he needs to kill someone.
His daughter seems to remember at least bits of that meeting. The next we see is her visiting Sherlock, telling him all about it. Her whole life, she says, was changed by one word when her father told them whom he needed to kill.
Sherlock sends her away at first, but then he deduces she’s about to kill herself and he stops her and takes a walk with her, accepting her case. During the entire progress of their walk, Mycroft is monitoring them from a helicopter
We cut back to John at the therapist’s, where Mrs. Hudson gets out of the flashy car and emotionally blackmails him into promising to help Sherlock. Then she opens the trunk to reveal the detective there. He is high as a kite once again, but tells John that Mr. Smith is a serial killer. He has made the same announcement on his blog, too. About the same time, Mr. Smith calls to ask John and Sherlock for lunch.
John agrees to go on the condition that Sherlock will be examined by Molly Hooper and that it’ll be confirmed he’s really on drugs again and so does actually need his help. Molly confirms that he’s “using again” and that at the rate he’s going, he has got weeks to live. Sherlock is unperturbed, and off to lunch they go.
It turns out that Mr. Smith has turned Sherlock’s announcement into a publicity stunt, and he is now promoting his cereals with saying he’s a “cereal killer”. They go to the hospital Mr. Smith is financing. There is a lot of creepy dialogue. Sherlock pickpockets Mr. Smith’s phone to send a text to his daughter, and later he announces she would meet them and that he told her Mr. Smith confessed. When the woman arrives, however, it turns out it’s not the same one who visited Sherlock, which throws him a little, to the point that he starts hallucinating, is hysterical and attempts to stab Mr. Smith with a scalpel, only to be restrained and beaten by John.
Next he’s to be found lying in a hospital bed when Mr. Smith comes in. Sherlock asks the madman to kill him by increasing the dosage of whatever drug he’s on. In “about an hour”, he should be dead. Mr. Smith uses the remaining time to confess.
Meanwhile in Sherlock’s flat, Mycroft is trying to figure out what drove Sherlock over the edge when John comes. They discover the Miss me? CD Mary left Sherlock. Playing the message, John sees that Mary told Sherlock to put himself in danger because if he does, John would come to rescue him, while he would never accept help.
Seeing this, John rushes tot he hospital in Mrs. Hudson’s car, where he saves Sherlock just in time, as Mr. Smith ran out of patience and was suffocating the detective.
It turns out his confession was recorded, so that’s one case solved, and in fact, Mr. Smith just goes on confessing once he’s at the police station. It’s a hobby of his, apparently.
John and Sherlock sit together and make up, in a way. John tells Sherlock he no longer blames him for Mary’s death. He also discovers that Irene Adler is still texting Sherlock and starts to bully him into answering her texts because everybody needs a romantic relationship. They apparently make you a better person, like Mary did to him. Sherlock begins to tell him that he’s plenty good enough even alone, and John confesses – mostly to the Mary inside his head – that he cheated on her. In the next second, however, he says it was only ever text messages, which Sherlock assures him that is not a big deal and that he asks too much of himself. He admits that, yes, even he sometimes replies to Irene’s messages.
We get a scene of Lady Smallwood effectively asking Mycroft out on a date.
Alone for a moment, Sherlock finds the paper Mr. Smith’s “daughter” left at his flat and realizes he didn’t hallucinate her. He shines ultraviolet light at the paper and it reveals the message “Miss Me?”
And to close with, there is a scene with John at his therapist again, only it turns out that the therapist is actually the same woman he’s been “cheating” on Mary with and who visited Sherlock as Faith. She is Sherlock’s and Mycroft’s secret sister, The East Wind, who then fires a bullet at John.
No, I’m not making this up.
So, this is still not a detective story. We know who the killer was from the start, and there wasn’t even any mystery of how he did it, because there are no particular cases. But whatever this is, it’s more Sherlock than the previous episode was, so that’s a good thing.
It worked, too, emotionally and as far as characters go. The grief was handled relatively well from my point of view, managing to convey some improvement without pretending that everything would be fine again in a few weeks. John saying “it’s shit, but it is what it is” sums up their approach pretty well, and it was believable both in and out of universe.
The reconciliation between John and Sherlock was equally well done. As a touch-averse person, I’m not usually a fan of people who don’t hug suddenly hugging and that being used to express deeply felt emotion. These scenes make me uncomfortable. But here, somehow, it worked. John and Sherlock are close enough friends and it’s an emotionally enough fraught situation that even I felt the hug was needed. It hit every note it should have.
In relation to this, let me call out one great line:
By saving my life, she conferred a value on it. It is a currency I do not know how to spend.
– Sherlock, about Mary
Thematically, though, we’re starting to go in circles a little. This is the third season where Sherlock sacrifices himself for his friends in some way. Even the way he does it, in fact, are similar. The reason why the sacrifice was necessary was a little different this time at least, but still, we’re going over a ground we have already covered, and I fear that once again, it will not end up costing Sherlock anything, making the whole theme of sacrifice rather moot.
Related to this is the depiction of drug abuse. It’s a good thing they show its dangers, I suppose, but on the other hand, what is this supposed to mean about long-term effects? Withdrawal? Is Sherlock going to be perfectly fine the moment he stops actively using drugs? I fear he will, which is why I say the supposed sacrifice will end up costing him nothing. Let’s hope they will surprise me.
While “The Six Thatchers” were a series of false notes in characterization, this didn’t really have many issues in that department. Perhaps the biggest one would be Mycroft. Once again, he oscillates between omnipotent and impotent. He follows Sherlock with a helicopter when he goes for a walk, but he lets him lie in the hospital of the man Sherlock has just accused of being a serial killer and then tried to kill. And when John calls him to tell him there’s danger, he’s all “no, he’s fine”. I know the story needed John to save him, but then invent a way that works better.
One of the good ways “The Lying Detective” channels fanfiction, as I claim in the title, is what they do with Mrs. Hudson. The way they take her background, which was just casually mentioned until now, and bring it a bit to the foreground. Mrs. Hudson drives a flashy car at top speed while being on the phone and, as she tells John, “I own property in central London.” What did you think, silly? “I’m not your housekeeper”, I’m the widow of a drug lord.
It was fantastic seeing a bit of the lady who got her husband executed and then inherited the money. Though I have to say, if she did not know about Sherlock’s plan to help John and really in all honesty emotionally manipulated a man whose wife was recently deceased to help Sherlock, well, that’s cold even for a drug boss.
And speaking of her being cold, Mrs. Hudson called Mycroft a reptile – does she know what he did to his sister, whatever it was? Because apart from possibly that, I can’t recall anything that would deserve such vitriol. Especially as she was speaking to him so fondly in season three. Sure, that guy misuses government resources, but as she so kindly pointed out, she’s the widow of a drug lord who lives off his money after she got him executed. She’s hardly one to judge, but her behaviour towards him seems to be determined entirely at random. Especially as Mycroft, however emotionally constipated he might be, is worried about his brother at the moment. So could she lay off with the invectives?
But enough about Mrs. Hudson. As for the other female characters, Mary remains as awesome in death as she was alive, but Molly was much less satisfying. She is there in her usual role, only to help and worry. Give us back the Molly who slapped Sherlock for abusing drugs!
The last female character worth a mention (though the nurse was great!) is the therapist, AKA Eurus. First, and related to her, it’s worth a moment to comment on the revelation that John’s “cheating” was only texts. It’s lovely they didn’t have John act completely out of character. That’s oen problem of the previous episode gone. On the other hand, that puts us back to where he is actually perfect. Why can’t we just stick with a middle ground and have him have realistic faults?
And then, well. What is it with this show and heteronormativity? Sherlock was coded as aromantic asexual for the entirety of the first season, then his fascination with Irene Adler was clearly meant to be something out of his experience. Even the “relationship” he had in season three was just to get to Magnussen. But now we have John telling him that the only way to be a good person, to be happy, is in a romantic relationship? For real?
If that argument was “if that is what you want, you shouldn’t let some stupid pose prevent yourself”, then fine. But romantic relationships are not a magical spell to make people better! In fact, I know a few couples who make each other’s faults worse, and while I suppose it can prevent you from becoming too selfish, so can friendship or adopting a child or any number of things. Seriously.
And Mycroft, who was definitely coded as aromantic (and also perhaps gay, or at least about two lines in the show seemed to hint that way), is seen being asked out by Lady Smallwood, because God forbid two people of the opposite sex just work together as colleagues, right?
But I will take it all back if it turns out their secret sister is a trans woman.
It would fit perfectly. Mycroft, as much as I love him, looks like exactly the sort of person who would refuse to accept his sister’s gender and insist on calling her by her dead name – thus Sherrinford. (And yes, Euros is masculine too, but bear with me.)
It’s the only way to save the twist with the sister, which looks very much like a desire to cheaply shock and only made me think of bad fanfictions with self-insert original characters in the form of a Holmes sister who is even smarter than both brothers combined and, of course, extremely pretty, and her name is Mary Sue.
Her jab at John about automatically assuming she was a brother makes no sense as it stands, too, because Mycroft literally said “it makes no difference Sherlock is my brother, it didn’t matter the last time.” See? An explicit mention of brother. The original logic behind Sherrinford Holmes – the first deduced existence of a third sibling – needed a brother too, since it was the supposition that in a gentry family, the eldest brother would inherit the country property and take care of it, and since Mycroft obviously wasn’t doing that, there had to be another one. Whatever way you look at it, trans Eurus is the only one that makes sense. Now give her to me!
There is one more plot issue I can’t help to mention. Sherlock deduces Mr. Smith is a serial killer by Faith’s statement that it was one word, reasoning that names are always two words, so the word must have been “anyone”. In actual reality, it could have been a lot of other words. Sherlock himself offers a case, Napoleon, and “Faith” offers another, “Elvis.” There are countless other examples, and then it could have been a name of someone so familiar to her the first name would have worked. Or, it could have been a pronoun, like “you.”
All of these are really obvious, and there is no way Sherlock wouldn’t have thought of them. They just wanted him to make the deduction (and twist the expectation that it would be one particular person) and didn’t quite know how. I know this sounds like a nitpick, but it broke my immersion quite substantially while watching.
Speaking of subverting expectation, most of this episode was predictable (or stupidly twisting in one case), there was one point that caught me unawares. When Mrs. Hudson came in to ask John to help Sherlock, I actually had a moment of fury to think that John’s wife died but it’s all going to be about Sherlock again, before I realized what Sherlock was doing. So, good job there.
I wonder, though, is it a problem that the way to save John was to make everything about Sherlock again? It works inside the story, it’s in character for John, but on the meta level, the narrative teaches Sherlock very little. He already did this kind of self-sacrifice in “His Last Vow”. To have some actual further development, he would need to live and change. There are some small signs of this being in the works. Let’s see if the show follows through.
Back to more general issues, Sherlock seems to have a particular affinity for serial killers with no motives. They are bad for detective stories, but then again, like I said, this was not a detective story. Still, compare the one room from “A Study In Pink” with this one and I think you will see all the ways the tax driver was better. The episodes did not try to cramp so much in back then, didn’t try to be so shocking, and the show was better for it.
The taxi driver also didn’t have that much of a Bond villain flare. It was one of the best things about him, what an unassuming guy he was. This is another way in which “The Lying Detective” seems to be channelling bad fanfiction – drugs that addle your memory? Really? And everyone in the room just going along with it?
The villain of this piece simply did nothing for me. I had no interest in him, he was ridiculous at times, and when the tediousness of him was finally over, I was glad. We could get back to the interpersonal stuff, which was actually good in this episode.
I know I spend much more time speaking about the bad than about the good, but it was a well made bit of television, enjoyable to watch, well-paced and with mostly believable characters. It makes me feel all the more sorry about the issues I can’t help pointing out.
All images courtesy of BBC.
The Fandomentals 2018 SAG Awards Primer
In the past few months, we’ve seen the opinions of everyone from the Television Academy to the Hollywood Foreign Press to the nation’s biggest critics. But have you ever wondered what actors in Hollywood think of each other? Well the SAG’s, the babiest brother of the major film awards shows, will answer that very question.
The Screen Actors Guild‐American Federation of Television and Radio Artists (you see why we abbreviate) has been putting on their own awards show since the ancient and far-off year of 1995. Despite its youth compared to most other awards shows, the nods it gives (voted on by members of the union) are sometimes the best indicators for success when the Academy Award nominations come up. As such, we at the Fandomentals want to make sure you are kept abreast of the nominations for this year, as well as give our own take on who should, shouldn’t, and will win this year. As with the Golden Globes, the Fandomentals Head Film Critic Jeremiah Sherman will weigh in on the movie end of things, while I will be picking up the slack on the television end. This year will also be the first year that the SAG’s will have a host, the wonderful Kristen Bell.
Outstanding Performance by a Male Actor in a Leading Role
Timothée Chalamet – Call Me by Your Name as Elio Perlman
James Franco – The Disaster Artist as Tommy Wiseau
Daniel Kaluuya – Get Out as Chris Washington
Gary Oldman – Darkest Hour as Winston Churchill
Denzel Washington – Roman J. Israel, Esq. as Roman J. Israel
Who Will Win: Gary Oldman for Darkest Hour. Jeremiah: Oldman all but disappears in his performance of Winston Churchill. It’s not just the makeup it’s the overall fact that when you look at Oldman’s Churchill, you’re hard pressed to find any trace of the Oldman we know. It’s the type of performance actors adore; disappearing into the character.
Dan: He was our preferred pick at the Globes, where he took home the trophy. So far he has swept nearly every award that has this category, and I doubt that this will change for the SAG’s.
Who Should win: Honestly, Oldman should win. Of the actors nominated his performance is actually the best out of all of them. It should be made clear the remarkableness of Oldman’s performance is not just its chameleon-like aspect but in its ability to make us believe it. It’s a stunning piece of craftsmanship that should be rewarded.
Who Got Snubbed: Jeremy Renner for Wind River. I don’t know if I think his Corey Lambert should win, but it is hands down the best performance I’ve ever seen Renner give. The haunted, stoic, and angry character is typical of Renner; but here he fills Lambert with longing, sadness, and confusion. Renner’s Lambert feels like the first real performance he’s ever given. That alone deserves at least a nomination.
Outstanding Performance by a Female in a Lead Role:
Judi Dench – Victoria & Abdul as Queen Victoria
Sally Hawkins – The Shape of Water as Elisa Esposito
Frances McDormand – Three Billboards Outside Ebbing, Missouri as Mildred Hayes
Margot Robbie – I, Tonya as Tonya Harding
Saoirse Ronan – Lady Bird as Christine “Lady Bird” McPherson
Who Will Win:
Frances McDormand for Three Billboards Outside Ebbing, Missouri.
Jeremiah: McDormand gives a gutwrenchingly honest portrayal of a grief-stricken and hell-bent matriarch in a small, fictional Midwestern town. It’s a potent performance and will most likely be lauded by her fellow actors, especially since they adore her. It helps that she’s won a Golden Globe for this role and has been putting in a strong showing on the awards circuit. Rightfully so, as she’s consistently one of the best yet somehow underappreciated actress working today.
Who Should Win: Sally Hawkins for The Shape of Water. One of the more subtly daring performances. With almost no words, outside a lovely musical number, Hawkins conveyed to us a complete and fleshed out character. The relationship between Elisa and the Creature works in large part because of Hawkins’ deft handling of the material.
Who Got Snubbed: I know you’re expecting me to say Kristen Stewart for Personal Shopper and rightfully so. Even though she totally got snubbed, so did Danielle MacDonald for Patti Cake$. Her Patricia Dombrowski was a fierce and optimistic dream chaser. Patti’s obstacles are not end-of-the-world roadblocks, they are, everyday minor setbacks. Through it all, MacDonald gives us a performance that has us clapping our hands and stomping our feet when she takes the stage.
Outstanding Performance by a Male Actor in a Supporting Role
Steve Carell – Battle of the Sexes as Bobby Riggs
Willem Dafoe – The Florida Project as Bobby Hicks
Woody Harrelson – Three Billboards Outside Ebbing, Missouri as Sheriff Bill Willoughby
Richard Jenkins – The Shape of Water as Giles
Sam Rockwell – Three Billboards Outside Ebbing, Missouri as Officer Jason Dixon
Who Will Win: Steve Carell for Battle of the Sexes. It’s not based on anything except Carell’s Bobby Riggs was wonderfully layered. A man beset by his lesser angels while also being, shockingly, one most keen cultural observers, and a seemingly inexhaustible daring self-promoter. Battle of the Sexes was never as good as it should have been but it wasn’t awful, and that’s due in large part to Carell’s Bobby Riggs.
Dan: As much as I loved Carrell, I have a sneaking suspicion that Hollywood’s need to reward shitty white dude characters will help continue Sam Rockwell’s dominance in this category. Even though Woody Harrelson puts in a better performance, Rockwell’s “redemption” arc seems to be resonating with the film world.
Who Should Win: Willem Dafoe’s Bobby from The Florida Project pulled off one of the most infamously difficult aspects of acting: he doesn’t appear to be acting. Of course, he’s acting, but his Bobby is free of any theatrical artifice or mannerisms. Even though there’s no noticeable difference between Bobby or Dafoe, the actor himself is nowhere to be seen.
Who Got Snubbed: Patrick Stewart for Charles Xavier in Logan. Logan was far and away the single best departure from the ho-humness that plagues the superhero genre. Stewart as Professor X gives a blistering and honest performance as a man in the final stages of his life. Unusually for a genre that is normally cavalier in its treatment of death, the tragedy of mental deterioration and death is made uncomfortably real by Stewart’s portrayal.
Outstanding Performance by a Female Actor in a Supporting Role
Mary J. Blige – Mudbound as Florence Jackson
Hong Chau – Downsizing as Ngoc Lan Tran
Holly Hunter – The Big Sick as Beth Gardner
Allison Janney – I, Tonya as LaVona Golden
Laurie Metcalf – Lady Bird as Marion McPherson
Who Will Win: Laurie Metcalf for Ladybird, if for no other reason than because I think the Guild feels a kinship with Metcalf. She’s a working actress getting a second wind in her career. I think the Guild will want to reward her for what is one of the best performances of the year.
Who Should Win: Mary J. Blige for Mudbound. A film that was all but buried by Netflix. It could have died a quiet death if not for Blige’s scathing turn as Florence Jackson. Blige conveys strength and vulnerability even from behind a pair of dark sunglasses. A wife and mother who sees her family fortunes crumble before her only to see them rise from the ashes is a tour de force for any actor. But for a first-time actor? It is astounding.
Who Got Snubbed: Tiffany Haddish in Girls Trip. A comedic force-of-nature, Haddish’s Dina was a vulgar loudmouth who was still more human than caricature. Much has been said about the grapefruit scene, but little is said about the scene after. Dina takes her friends into her room, kneels, and leads them in prayer. An act of simple faith that isn’t part of a larger message. Haddish’s Dina is such an astounding comedic creation because she is a complete creation, with beliefs and ideas, and not just comedic foibles.
Outstanding Performance by a Cast in a Motion Picture
The Big Sick – Adeel Akhtar, Holly Hunter, Zoe Kazan, Anupam Kher, Kumail Nanjiani, Ray Romano and Zenobia Shroff
Get Out – Caleb Landry Jones, Daniel Kaluuya, Catherine Keener, Stephen Root, Lakeith Stanfield, Bradley Whitford and Allison Williams
Lady Bird – Timothée Chalamet, Beanie Feldstein, Lucas Hedges, Tracy Letts, Stephen McKinley Henderson, Laurie Metcalf, Jordan Rodrigues, Saoirse Ronan, Odeya Rush, Marielle Scott and Lois Smith
Mudbound – Jonathan Banks, Mary J. Blige, Jason Clarke, Garrett Hedlund, Jason Mitchell, Rob Morgan and Carey Mulligan
Three Billboards Outside Ebbing, Missouri – Abbie Cornish, Peter Dinklage, Woody Harrelson, John Hawkes, Lucas Hedges, Željko Ivanek, Caleb Landry Jones, Frances McDormand, Clarke Peters, Sam Rockwell and Samara Weaving
Who Will Win: Lord help me I think it may be Three Billboards Outside, Ebbing Missouri. Deeply flawed but incredibly acted, it tries in vain to wrestle with the human complexity and the notion of justice. It’s burdened by the whiteness of its cast, and it’s narrative cowardice when dealing with racial issues. It has four women characters, but only one of them is given anything interesting to do or say. The others are merely decorative assets for their male counterparts. Needless to say, I’m betting SAG will just love all the great performances in this movie and overlook the inherent narrative flaws.
Who Should Win: The Big Sick is a movie I didn’t love, but it is a movie I liked a lot. I will say that it has a fantastic cast and it serves the movie well. Michael Showalter has nothing to say visually, but he is smart enough to stack his cast with heavy hitters. Kumail Nanjiani, Holly Hunter, Ray Romano, Zoe Kazan, Anupam Kher, and Zenobia Shroff make The Big Sick as powerful and poignant as it is. The script by Nanjiani and Emily V. Gordon gives the whole cast grade A meat to sink their teeth into. Heartwarming and touching The Big Sick works as well as it does because of its cast.
Who Got Snubbed: Before you get your pitchforks and torches ready hear me out, Justice League. Justice League is by no means a masterpiece by any definition of the word, nor is it worthy of any actual awards. BUT the cast made that movie work it’s weird, herky-jerky magic. Collectively they made a series of disjointed scenes and overly produced action sequences work because when they were together the movie was actually kind of fun. Whether it was Aquaman sitting on Diana’s lasso of truth or Batman’s look of gushing love when Superman joins in the fight against whatever the bad guy’s name was, they sold the scene. I’m not saying they deserve the award but they sure as hell deserve a nomination more than Three Billboards Outside, Ebbing Missouri.
Outstanding Performance by a Stunt Ensemble in a Motion Picture
Baby Driver, ST-C Robert Nagle
Dunkirk, ST-C Tom Struthers
Logan, ST-C’s Nuo Sun, Gary Hymes, Garret Warren
War for the Planet of the Apes ST-C’s Isaac Hamon, Terry Notary, John Stoneham Jr., Danny Virtue
Wonder Woman ST-C’a Tim Rigby, Marcus Shakesheff, Lee Sheward
Who Will Win: Wonder Woman. While the other films in this category did a great job with their stunts, Wonder Woman not only had a fantastic stunt cast, they also let the stunt actors BE characters. A good chunk of the best stunts in the film were by the Amazons, who were played by an extremely talented and athletic group of women. Rather than let the stunt women stay in the background, Patty Jenkins let them feature in front of the camera and for that, I think the Guild will reward.
Who Should Win: Wonder Woman, again. The beach scene alone is amazing, but it also had some fantastic work during the war scenes as well.
Who Got Snubbed: Star Wars: The Last Jedi. It’s sort of the norm for the SAG’s to snub December release films, but this snub in this category is more surprising. It’s hard to beat Star Wars when it comes to stunts, and Praetorian Guard fight on Snoke’s Ship was as standout a feat of action as any other in 2017.
Outstanding Performance by a Male Actor in a Miniseries or Television Movie
Benedict Cumberbatch – Sherlock: The Lying Detective as Sherlock Holmes
Jeff Daniels – Godless as Frank Griffin
Robert De Niro – The Wizard of Lies as Bernard Madoff
Geoffrey Rush – Genius as Albert Einstein
Alexander Skarsgård – Big Little Lies as Perry Wright
Who Will Win: Alexander Skarsgård. Already a success at multiple shows, and considering the tongue bath that the awards shows have been giving Big Little Lies, this seems like a gimme.
Who Should Win: Sadly, this category isn’t nearly as competitive as most of the others. The closest to Skarsgård in critical acclaim is maybe De Niro, but that’s probably just the built-in bias people have for the man.
Who Got Snubbed: Charlie Cox in The Defenders. A snub that can largely be chalked up to genre bias, Cox had perhaps the strongest storyline in a show stuffed to the brim with them. While Cox wouldn’t win, he’s at least as worthy as Blueberry Pumpkinpatch
Outstanding Performance by a Female Actor in a Miniseries or Television Movie
Laura Dern – Big Little Lies as Renata Klein
Nicole Kidman – Big Little Lies as Celeste Wright
Jessica Lange – Feud: Bette and Joan as Joan Crawford
Susan Sarandon – Feud: Bette and Joan as Bette Davis
Reese Witherspoon – Big Little Lies as Madeline MacKenzie
Who Will Win: The real question is which actress in Big Little Lies will win. Considering there’s no supporting vs. main actress delineation, it could be any of the three. The best bet is Nicole Kidman, who can be counted on to give a flowery speech about female empowerment as she accepts her award.
Who Should Win: Susan Sarandon. While she’s gotten very little love, thanks largely to the sheer dominance of Big Little Lies, I still think Sarandon did a great job in making sure her Bette Davis transcends a simple impression.
Outstanding Performance by a Male Actor in a Drama Series
Jason Bateman – Ozark as Martin “Marty” Byrde
Sterling K. Brown – This Is Us as Randall Pearson
Peter Dinklage – Game of Thrones as Tyrion Lannister
David Harbour – Stranger Things as Jim Hopper
Bob Odenkirk – Better Call Saul as Jimmy McGill/Saul Goodman
Who Will Win: Sterling K. Brown has been killing it at the awards this year, and his performance justifies that success. And in a category largely filled by more ensemble shows, he seems an easy choice for the Guild’s committees.
Who Should Win: David Harbour. It can be hard to stand out in an ensemble cast, especially when that cast is in a genre show. But Harbour has gotten a good deal of well-earned love for his performance. Transitioning from burned out sheriff to surrogate father finding his feet, Harbour helped Hopper maintain his position as the stable rock amidst the chaos around Hawkins.
Outstanding Performance by a Female Actor in a Drama Series
Millie Bobby Brown – Stranger Things as Eleven
Claire Foy – The Crown as Elizabeth II
Laura Linney – Ozark as Wendy Byrde
Elisabeth Moss – The Handmaid’s Tale as June Osborne/Offred
Robin Wright – House of Cards as Claire Underwood
Who Will Win: Elizabeth Moss. Another obvious choice, but this is a great place for the Guild to reward The Handmaid’s Tale for its work and topical importance.
Who Should Win: Claire Foy. She’s been great in both seasons of The Crown, and with the show moving past her it’s now or never to reward her acting.
Outstanding Performance by a Male Actor in a Comedy Series
Anthony Anderson – Black-ish as Andre “Dre” Johnson
Aziz Ansari – Master of None as Dev Shah
Larry David – Curb Your Enthusiasm as Himself
Sean Hayes – Will & Grace as Jack McFarland
William H. Macy – Shameless as Frank Gallagher
Marc Maron – GLOW as Sam Sylvia
Who Will Win: Aziz Ansari. Despite his recent controversies, Aziz has gotten nothing but love for his turn in season 2 of Master of None.
Who Should Win: Anthony Anderson. Not only is he fantastic in his comedic moments, but he also does a good job during Black-ish’s frequent serious discussions of race in America.
Outstanding Performance by a Female Actor in a Comedy Series
Uzo Aduba – Orange Is the New Black as Suzanne “Crazy Eyes” Warren
Alison Brie – GLOW as Ruth “Zoya the Destroya” Wilder
Jane Fonda – Grace and Frankie as Grace Hanson
Julia Louis-Dreyfus – Veep as Selina Meyer
Lily Tomlin – Grace and Frankie as Frankie Bergstein
Who Will Win: Julia Louis-Dreyfus. Thanks to the scary parallels between Veep and some modern-day politics, the character of Selina Meyer has gotten even more accolades than she did in earlier seasons.
Who Should Win: For this category, the inevitable choice is probably the correct one.
Outstanding Performance by an Ensemble in a Drama Series
The Crown – Claire Foy, Victoria Hamilton, Vanessa Kirby, Anton Lesser and Matt Smith
Game of Thrones – Alfie Allen, Jacob Anderson, Pilou Asbæk, Hafþór Júlíus Björnsson, John Bradley West, Jim Broadbent, Gwendoline Christie, Emilia Clarke, Nikolaj Coster-Waldau, Liam Cunningham, Peter Dinklage, Richard Dormer, Nathalie Emmanuel, James Faulkner, Jerome Flynn, Aidan Gillen, Iain Glen, Kit Harington, Lena Headey, Isaac Hempstead Wright, Conleth Hill, Kristofer Hivju, Tom Hopper, Anton Lesser, Rory McCann, Staz Nair, Richard Rycroft, Sophie Turner, Rupert Vansittart and Maisie Williams
The Handmaid’s Tale – Madeline Brewer, Amanda Brugel, Ann Dowd, O. T. Fagbenle, Joseph Fiennes, Tattiawna Jones, Max Minghella, Elisabeth Moss, Yvonne Strahovski and Samira Wiley
Stranger Things – Sean Astin, Millie Bobby Brown, Cara Buono, Joe Chrest, Catherine Curtin, Natalia Dyer, David Harbour, Charlie Heaton, Joe Keery, Gaten Matarazzo, Caleb McLaughlin, Dacre Montgomery, Paul Reiser, Winona Ryder, Noah Schnapp, Sadie Sink and Finn Wolfhard
This Is Us – Eris Baker, Alexandra Breckenridge, Sterling K. Brown, Lonnie Chavis, Justin Hartley, Faithe Herman, Ron Cephas Jones, Chrissy Metz, Mandy Moore, Chris Sullivan, Milo Ventimiglia, Susan Kelechi Watson and Hannah Zeile
Who Will Win: This is the closest thing the SAG’s have to a “Best Series” award, and it’s a tough race. Game of Thrones is always a contender, as are relative newcomers The Crown and This Is Us. But the most likely winner is The Handmaid’s Tale. Picking up the win at the Emmy’s and the Globes is always a good sign, and it’s doubtful that the chord that the series struck with audiences didn’t also reach the acting community.
Who Should Win: Stranger Things. Out of all of the series nominated, Stranger Things is the series that best represents a truly great ensemble. With this past season featuring great work from the adults (Sean Astin, Winona Ryder, and David Harbour) and the kids (Millie Bobby Brown, Finn Wolfhard, et al.), the series deserves a win. Sadly, it’s probably bogged down by the fact that it IS largely a child cast and good old genre snobbery.
Outstanding Performance by an Ensemble in a Comedy Series
Black-ish – Anthony Anderson, Miles Brown, Deon Cole, Laurence Fishburne, Jenifer Lewis, Peter Mackenzie, Marsai Martin, Jeff Meacham, Tracee Ellis Ross, Marcus Scribner and Yara Shahidi
Curb Your Enthusiasm – Ted Danson, Larry David, Susie Essman, Jeff Garlin, Cheryl Hines and J. B. Smoove
GLOW – Britt Baron, Alison Brie, Kimmy Gatewood, Betty Gilpin, Rebekka Johnson, Chris Lowell, Sunita Mani, Marc Maron, Kate Nash, Sydelle Noel, Marianna Palka, Gayle Rankin, Bashir Salahuddin, Rich Sommer, Kia Stevens, Jackie Tohn, Ellen Wong and Britney Young
Orange Is the New Black – Uzo Aduba, Emily Althaus, Danielle Brooks, Rosal Colon, Jackie Cruz, Francesca Curran, Daniella De Jesus, Lea DeLaria, Nick Dillenburg, Asia Kate Dillon, Beth Dover, Kimiko Glenn, Annie Golden, Laura Gómez, Diane Guerrero, Evan Arthur Hall, Michael J. Harney, Brad William Henke, Mike Houston, Vicky Jeudy, Kelly Karbacz, Julie Lake, Selenis Leyva, Natasha Lyonne, Taryn Manning, Adrienne C. Moore, Miriam Morales, Kate Mulgrew, Emma Myles, John Palladino, Matt Peters, Jessica Pimentel, Dascha Polanco, Laura Prepon, Jolene Purdy, Elizabeth Rodriguez, Nick Sandow, Abigail Savage, Taylor Schilling, Constance Shulman, Dale Soules, Yael Stone, Emily Tarver, Michael Torpey and Lin Tucci
Veep – Dan Bakkedahl, Anna Chlumsky, Gary Cole, Margaret Colin, Kevin Dunn, Clea Duvall, Nelson Franklin, Tony Hale, Julia Louis-Dreyfus, Sam Richardson, Paul Scheer, Reid Scott, Timothy Simons, Sarah Sutherland and Matt Walsh
Who Will Win: Veep. Most of my reasoning is mentioned in my justification for Julia-Louise Dreyfus’s win prediction, but there’s no doubt her work wouldn’t be nearly as good without the team surrounding her.
Who Should Win: GLOW. A great show that seemed to fly under some people’s radar, it took a much different approach to the 2017’s theme of female empowerment. Mixing funny and emotional as deftly as any Jenji Kohan program, the show had its ensemble pulling double duty as actors and as wrestlers. Sadly, if there’s one thing with less respect than genre, it’s professional wrestling.
Outstanding Performance by a Stunt Ensemble in a Television Series
Game of Thrones ST-C Rowley Irlam
GLOW ST-CS Shauna Duggins
Homeland ST-C’s Brian Smyj, Mark Fichera
Stranger Things ST-C Lonnie R. Smith Jr.
The Walking Dead ST-C Monty L. Simons
Who Will Win: Game of Thrones cleans up in technical categories, and have won this six years running. With each season getting bigger and sillier, so have the stunts gotten more impressive to match.
Who Should Win: GLOW. While losing best ensemble would be expected, losing Best Stunt Ensemble will be a bigger disappointment. Unlike other shows, GLOW is almost centered around stunts. It did a great job in having the wrestling look as real as real wrestling, while also capturing some of the painful qualities of it. As well, the cast was trained in professional wrestling, and pro wrestlers like Carlito put in some good work throughout the series.
The 24th Annual Screen Actor’s Guild Awards will be hosted by Kristen Bell, and presented on January 21, 2018, on both TNT and TBS, 8:00 p.m. EST / 5:00 p.m. PST
You Have Acquired: The First Key
Content Warning: this review discusses spoilers and themes of suicide as depicted on the show.
First Key of the Seven Keys? Check! Magic? Still a nope.
The pages might be blank, but Quentin seems to have the Tale of the Seven Keys down pat. He starts going on about this daughter of a knight who gets kidnapped by a witch. The only way to set him free? Find the seven keys, which unlock the castle at the end of the world. The first location the daughter travelled to on this quest? A little place called After Island. As in After Fillory, or somewhere at the ass-end of the Fillorian Ocean. But for Quentin and gang to join Eliot and gang, they’d have to hop on over to Fillory. Might be a tough fix, seeing as magic is still caput. But Mayakovsky had some magic batteries, once upon a time. So maybe if they find them, they can get a jump start. With a little Googling, they find he was last seen at a Hedge Witch bar getting turned into a bear? Yeah, sure.
Eliot’s got his court hard at work scrambling up a ship to sail out to After Island, but the Fairy Queen isn’t too fond of the idea of magic being back. That would make them equals again, no? Eilot gets a tour of his new ship, the Muntjac, which in true Fillory fashion is semi-sentient. In the interest of keeping things under tight control, the Fairy Queen commands Eliot to bring Fen and one of her courtiers along: none other than Frey, Eliot and Fen’s now full-grown child. Time sure does fly when you’ve been kidnapped from birth and forced to grow up in a different dimension.
Meanwhile, Alice is on Lamprey Watch. The vampire from last episode suggested getting a kitten. Apparently they have a sixth sense for the thing. It better work, because the Lamprey’s already gotten hold of a human skinbag to play host for it.
Q and Julia need Kady to get into the Hedge bar, and warily, Kady plays along. A chat with the barkeep reveals that Mayakovsky was with his Brakebills sweetheart, Emily Greenstreet, when the whole bear thing happened. Q pays her a visit, but seeing as she’s been drunk for a week, Emily isn’t exactly forthcoming. All she can confirm is that Mayakovsky was talking with a woman, “someone he owed,” right before he hulked out.
Eliot sets sail for After Island with a tearful goodbye to Margot, who’s staying behind to make sure Fillory doesn’t fall to pieces. Shortly after landing on After Island, Eliot locates the first key. Someone slap a Staples button. But wait, a catch. It’s hanging around the neck of the island’s priest. Said priest and key are the only thing that has been keeping at bay a vicious shadow bat that’s been preying on the villagers. Psych. Turns out it’s just Illusion magic and the priest’s a huge bag of dicks. Once Eliot pieces it together, with some help from maybe-daughter Fen, he turns the dickwad over to the justice of the people. Way to go King Eliot.
Turns out the big magic didn’t stop with Mayakovsky’s shapeshifting bar trick. Weird spells have been popping up all over New York City—a dinosaur at a children’s hospital, sex magic in Central Park—and wherever the whacky crops up, the same woman is always close by. The gang splits up to check it out. At Central Park, Q bumps into Alice and her new cat. Turns out she heard about the magic spikes too, and is searching for the same person. They catch word of the lady in question. Apparently, before she lit out of the park, she talked about finding the nearest tall building to fling herself off of. Yikes. Quentin and gang hightail it to the place in question to find Professor Lipton clinging to the roof. Q tries to talk her down. Turns out she swiped the battery from Mayakovsky. Q pulls her back to safety, but not before she drops the battery.
But hey, turns out there was another battery after all. And Emily had it. Before the gang can get to her, Kady swoops in and steals it for herself. Distrustful of the gang’s motivations, she’s ready to cure Penny first, save magic later. At the hospital the gang checks Lipton into, the Lamprey makes a sudden appearance. Except, the Lamprey is actually invisible, so how do we know this? Because Alice’s cat gets hissy and subsequently explodes of course. Poor cat. You shall be missed. Alice makes a break for it, but that won’t last long. Now it’s Quentin’s turn to get possessed. Hey, it wouldn’t be a season if Q didn’t get possessed at least once, right?
We’re back in step this episode of The Magicians, but honestly, I’m a little conflicted. The show writing has grown into the habit of leaning into cliches, and justifying this by calling them out forthright. As humorous as it is, it does come across as a little lazy. Eliot and Fen’s changeling kid suddenly coming back a full-grown adult? Mayakovsky’s batteries? Being self-aware doesn’t necessarily negate the sin of being overly convenient.
As ever, I have never been married to the source material. But the show has strayed so far from the books’ beaten path that this attempt at getting back to it feels like we’re fighting through thickets with a weedwacker. The problem-solving is quick, it’s messy, and it calls attention to itself.
Still, I’m looking forward to getting to the part where we get the gang back together. I just hope that the majority of the quest takes place on the Muntjac. Quentin’s comment at the very opening of the episode, regarding the fact that the first key is “in Fillory” could possibly hint that the other keys could not be. To be frank, Brakebills and Fillory as locations are what make The Magicians unique. Considering Brakebills is bust with magic, it would seem in due process to focus a little more on Fillory this season.
Like Q and the gang, I’m kind of missing the magic. Half the charm of The Magicians has always been the theme of childlike magic. A return to nostalgia. The power of both the books and the first season lies in the material’s abilities to let us live vicariously through its characters’ sense of wonder. We, the geeks of many fandoms alike, have always dreamt of turning a corner and finding that magic was real. That there’s a place out there were fiction comes to life. This far in, the magic all feels a little jaded.
I’m ready to feel the wonder again. And what better way than by taking us far, far away from the convoluted events of the past season?
Let’s go on an adventure.
Images courtesy of SyFy
The Flash’s Innocence Is On Trial
To quote Abed Nadir, “And we’re back!”. After that mixed cliffhanger, it’s finally the time to see what happened to Barry Allen in The Flash.
We pick back up with Barry being processed and pleading innocence to the captain of the CCPD. He gets out on bail and explains the issue to Team Flash. Iris makes a Chekhovian remark as she reminds everyone, audience included, that when Barry returned from the speedforce, he was talking about being innocent of a murder and this will most likely play a role later on. Barry states that, if convicted, he will not use his powers to escape and become a fugitive. Meanwhile, Joe recruits Ralph’s P.I. expertise and Clifford, in Dominic’s body, tries to convince Marlise that they are still on a journey together even with the recent “changes”.
The trial begins and the prosecutor starts making his case against Barry, painting him in a bad light and arguing that Barry murdered DeVoe in cold blood. Somewhere else, at a local bank, the B plot begins with a man whose face turns greenish and, seemingly unbeknownst to him, knocks people out as he exits the bank. At the courthouse, the prosecutors present the forensic evidence against Barry, such as the wedding knife/murder weapon and DNA under DeVoe’s nails. Joe and Cisco are called to the bank to investigate and Cisco gets a trace of dark matter from the metahuman.
During Captain Singh’s deposition, Cecille’s question is about why Singh hired Barry in the first place, to which he replies that Barry was eager to help the victims of crimes. The prosecutor then asks Singh about the numerous times Barry was late and about his “sabbatical,” implying that the captain could have covered for Barry’s second life as a criminal mastermind. This apparently leaves everyone considering this as a possibility.
Staking out the DeVoe’s residence, Ralph takes pictures of Marlise kissing DeVoe/Dominic. During a recess, Cecille tells the West-Allens that Barry could either make a deal or claim insanity, which Barry won’t accept because they aren’t true. Plus, Barry won’t testify and defend himself either because he doesn’t want to perjure himself. He doesn’t want to tell the people he is The Flash either, despite this being his best option.
Caitlin comes back to STAR Labs with the news that it was radiation poisoning that caused all the people at the bank to collapse, but since things tend to escalate around Central City, the radiation levels could lead to an atomic-bomb-esque explosion, wiping out the entire city.
Marlise is called to testify and gives a show in melodrama with tears galore, moving the jury members. Ralph arrives with the recently taken pictures, but upon presented with the evidence, Marlise conjures up a story about how she was in a lowkey relationship with Dominic and that Clifford knew and approved of it because he couldn’t provide certain physical pleasures. Even after that, Barry won’t out himself.
Iris decides to talk to Marlise and it doesn’t lead to anything but Mrs. DeVoe baiting Iris into telling the court that Barry is the Flash. As Iris tries to make her move, Barry speeds up to her and creates a sort of a bubble in time in which both of them can talk normally while everything else is stopped. Barry tells her not to do it because it would put everyone that has stood by them in the previous years at risk. In the end, Iris decides not to out The Flash, practically sealing his conviction.
Joe asks Ralph to use his powers to break into the DeVoe’s house, but he refuses when he realizes Joe is planning on planting some fibers from the West-Allen apartment there in order to frame Marlise for the murder — I guess this could be considered a re-framejob? I mean, we know that it was either Marlise or DeVoe who stabbed the corpse. Actually, what Ralph did was less of a “refusal” and more of a “speech on ethics and morality” that managed to convince Joe not to do as he planned.
The metahuman Fallout continues to obliviously make people collapse, but after a while, Barry finally catches on to it. The defense rests her case and proceeds to the closing arguments, but those get interrupted as Barry leaves the courtroom to tend to the metahuman near the point of blowing the city. Cisco and Wells trigger Killer Frost to appear so she can try cooling down Fallout, but she ends up receiving a power blast and passes out. The Flash creates a vacuum around the meta right in time so Cisco can breach the radiation to Earth-15, a place Wells claims to be deserted and abandoned. The plan works, but Barry gets burned, which doesn’t really mean anything since he has healing abilities.
The jury declares its verdict, finding the defendant guilty of murder in the first degree. As Barry goes back to the courthouse, he has a moment alone with Dominic DeVoe who continues on with his smug-ass super calculated plan that he won’t reveal. We have no idea what the fuck is going on which, frankly my dear, it’s far more frustrating that compelling.
Barry declares his innocence once again, but the sentencing is at hand. In a nicely done montage, the creative team juxtaposes the judges calling Barry “inhumane, unmoved, and with such a lack of regard for human life” with Captain Singh awarding the Flash with a medal of valor. The judge, in the end, sentences Barry to life in prison without the chance of parole.
Capping the episode, we see Barry arriving at his prison cell that, due to a phrase written on the wall, we know is the same cell that held Henry Allen at Iron Heights.
Images Courtesy of the CW
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