The new episode will mark Madisson Hausburg's first appearance this season. In the previous season of the show, Madisson lost her unborn baby just two weeks before the delivery date because of a rare complication. At the time, Madisson and her husband Ish had shared that they were going to a support group. Fans will now see the couple trying to cope with their loss.
As fans will remember, Ghost's onetime protégé, who's completely in over his head, was fired from his job because of James' shrewd maneuvering. But with Dre weaseling his way onto to the Queens Child Project James is a part of, Dre and James are set to square off in a slightly different arena. Of course, Ghost has already considered making Dre fish food but decided it was impractical, and then after his heart-to-heart with Reverend Macedon (Chuck Cooper) last week, it seemed even more unlikely Ghost would be sending Dre to meet his maker anytime soon. So is Ghost is a changed man? It's hard to say after seeing this clip above. Because when Ghost and Dre face off it's clear who has all the power -- and who ought to be worried the most. Their summit might have a surprising ending for now, but it could be that Ghost is just employing that age-old advice about keeping your enemies close.
The series was based on David Simon's book Homicide: A Year on the Killing Streets which documented his time spent with the homicide unit of Baltimore Police Department; Simon would go on to create The Wire, still regarded as one of the best TV dramas ever made, but having started his career as a reporter, he made his name with this vividly written account of his time shadowing a shift of homicide detectives in 1988 as they investigated murders. As with his book, the show captured the day-to-day reality and often grim humour of a group of people whose job puts them in regular proximity with death.
After the first season aired, the show's future was, for a time, in jeopardy. "There was enormous resistance until I won the Emmy, and then suddenly, they said: 'we love this. We always loved it'," Fontana says. NBC renewed the show, but only for four episodes, instead of the first season's nine. "The number is supposed to go up, not down," he adds. "But they said take the four, or forget about it. They also insisted that we start having guest stars." Levinson called in Robin Williams, who he'd previously worked with, to play the grieving husband of a murdered tourist in the second season opener Bop Gun. Williams was cast against type in a downbeat, sombre role as a man navigating his sudden bereavement, appalled by the casual way the cops discuss overtime while his wife lies in the morgue. "It seemed to me to be a way to satisfy the network's demand for guest stars, but also be true to the insanity of our show," says Fontana.
Fontana made a point of talking to the actors about how they saw their characters developing. Leo refers to Fontana's genius in this respect, vis-à-vis "the inventiveness we actors were allowed to bring to it". Secor describes Fontana prompting him to make discoveries about his character: "Tom really gave me a lot of leeway in where this character was going." In later seasons Bayliss reveals that he was sexually abused as a child; he also starts exploring his sexuality and, by the end of the series, he openly identifies as bisexual, rare for a protagonist in a mainstream TV show, both then and now. "The network got a bit nervous about that," said Secor. Not everything made it to the screen. "What happened to that full-on kiss with Peter Gallagher?" he laughs, referring to an episode where his character is asked on a date by Gallagher's gay restaurant owner. But he received a lot of letters from people who related to what his character was going through, especially the scenes of him confronting, and later caring for, the uncle who had abused him. "That love/hate relationship had a big impact on people."
The network was less certain of Howard's character. She is promoted to Sergeant, but she becomes less prominent over the course of the show. "I know Tom went to NBC every year, fighting for Howard to stay in the unit," says Leo, but her character never returned after the fifth season. The way this was handled clearly still frustrates her. "They didn't know what to do with me. But I thank Tom Fontana for fighting to keep Kay on the show."
Steve: Well, another week, another episode concentrating on two characters. This time the spotlight is in Carol and Daryl. While I enjoyed this one more than I should have because these are arguably two of my favorite characters on the show, I imagine it was quite painful for you.
Plans have changed and new alliances have been formed between people who you would never expect in this episode of Power. Never thought we would see Ghost (Omari Hardwick) go from kill or be killed when it comes to Dre (Rotimi) to pouring a glass of scotch and toasting up with this guy.
Around a somber dinner table at Nonnatus House, Sister Mary Cynthia tells everyone that she has changed her mind. She will go to the police because the other women have something to lose and, despite her many fears, this is not one of them. At the station she gives her account, describes her assailant and pictures are taken of her injuries.
So how did the issues in this episode strike you? Laws have obviously changed over the years, but is that enough? The bright side in this episode is that if people are brave enough and speak the truth, attitudes can change. Like Trixie finally telling Patsy and Delia that she attends AA meetings, for example.
Even through the end of Season 6, showrunners Benioff and Weiss only ever discussed the change to Sansa's storyline in a single interview - with Entertainment Weekly after episode 5.3 aired and revealed that they were going to betroth Sansa to Ramsay (but before this episode aired, and thus not addressing that they actually had Ramsay rape Sansa). In addition, Benioff and Weiss subsequently skipped the official Game of Thrones San Diego Comic Con 2015 panel a few months after the episode aired - officially because they were "busy filming Season 6", though so far it is the only time they have ever skipped an SDCC panel. Benioff and Weiss ultimately didn't make another live panel appearance at any location until the SDCC 2016 panel for Season 6. Benioff and Weiss did not discuss reasons behind the change to Sansa's storyline in the Season 5 Blu-ray commentary. Writer Bryan Cogman, who was personally tasked with scripting this episode, did discuss it at length in the commentary track for it. Reviewing Cogman's commentary track, almost a year later, even Entertainment Weekly noted that "showrunners David Benioff and Dan Weiss, have largely avoided discussing the scene"
The Entertainment Weekly article summarized the interview with Beniof and Weiss by saying that "the showrunners first thought about putting Sansa and Ramsay together back when they were writing Season 2" - but didn't provide direct quotes, and it is difficult to draw specific conclusions from this vague comment. Open questions are:
Cogman also discussed in the DVD commentary that some critics were upset and felt that the camera cutting away to Theon's face at the end as Ramsay tears Sansa's clothes off was changing the scene from being about Sansa to being about Theon - though other critics felt this was more tasteful. Cogman reiterated and confirmed the position of the latter group of critics: he felt the entire scene was from Sansa's perspective and about Sansa, not Theon, and the camera only focuses on Theon's reaction at the end because they felt it was more tasteful not to actually show Ramsay raping Sansa on-camera:
On the Flyer, Kim is shocked and very much dismayed to find that nothing has changed. If Voyager had been saved, then this entire timeline would have been erased, and they would not be there still trying to save her. His new corrections did not work. He checks the equipment, and hails Chakotay, informing him of the failure.
"Hello, Harry. I don't have much time, so listen to me. Fifteen years ago, I made a mistake and 150 people died. I've spent every day since then regretting that mistake. But if you're watching this right now, that means all of that has changed. You owe me one."
We all have control over the tone of our posts and what shows up in our social media feeds, and this episode describes positive ways we can utilize social media to help avoid drama and celebrate all the great things that people are doing.
At the same time, the series begins to study not only Serena's complicity but her active participation in the abusive Gilead system. Strahovski does some fine work this season as a woman who is constantly trying to maneuver herself into a favorable position for her own comfort and security. The show has always acknowledged, but is now confronting more fully, that one of the key threats to vulnerable women in any society that oppresses them is, in fact, less vulnerable women who calculate that participation in injustice will work out better for them than resistance. Patriarchy, under this argument, would get nowhere without the women who embrace it for its advantages.
None of this negates the complaints about the show that have been shared for several years now. The show is still about June, and about Serena, more than anything else. It cannot be engineered into something it is not. But its examination of these two women embraces a more complicated dynamic than it once did. It has become a more thoughtful study of complicity, both on Serena's level of active violence and participation and on June's level of engaging in resistance that is individual rather than collective. And it has become an unusual story, for television, of a trauma survivor whose eyes still darken with precisely the same coiled fury, even after the immediate danger has passed. 781b155fdc