It’s often noted that Severance is more akin to playing strategic chess compared to most other TV shows, which are more like playing checkers. Indeed, this observation holds true – the series excels in creating intricate and detailed worlds rarely seen on television. Furthermore, the second season’s penultimate episode can be likened to an actual chess match itself, skillfully maneuvering pieces to establish a grand final confrontation.
Ever since the fifteenth season, the bond between JoLink has been robust, strengthened when Jo’s old friend entered Grey Sloan Memorial as an orthopedic specialist. Despite her relationship with Alex at the time, it was evident to many that they shared a strong chemistry. After Alex departed, there were obstacles, particularly the complications involving Link and Amelia, and the ill-fated proposal attempt where Link enlisted Meredith’s children, which ended disastrously. However, when Link moved in with Jo to navigate the aftermath, it was clear that their relationship was about to blossom. Admittedly, it took some time — they engaged, argued, and spent an entire season sorting things out following that encounter. But as the saying goes, good things come to those who wait, and given that they’ve been friends since college, it’s evident this relationship is destined to endure.
This week’s murder is skillfully executed with a touch of theatricality. We already know that Tim’s (Max Jenkins) killer, Marilyn Gladwell, portrayed by Tracey Ullman, provides comedic relief and an unexpected dose of empathy. Marilyn serves as the psychic consultant to Tim’s stepmother, Phyllis, whom she has been assisting since Tim’s father’s demise two years ago. Phyllis pays Marilyn $200,000 per year for her services, which amounts to approximately 133 hours annually or about 2.5 hours each week. Keep in mind that Jordana Brewster’s character in “Tearjerker” earned around $250,000 from her most significant client with similar services. Just like Nathan Jordan before her, Phyllis Pearson (Jill Eikenberry!) is Marilyn’s most valuable client.
As a movie critic, I must say that the opening montage was a whirlwind of shaky vlogs from contestants embarking on their culinary journey, sprinkled with impressive resumes and countless shots of the Delta logo that stretched on like a never-ending road. Upon reaching the same Canadian parking lot, the sight of the iconic Top Chef knife block had me gripped with anticipation, mirroring the emotions of the contestants themselves.
In an attempt to breathe fresh air into the show’s format for Season 21 (affectionately titled “Haaave You Met Milwaukee?”), Kristen Kish took over Padma Lakshmi’s host seat, aiming to bring about change. However, many of the risks — in terms of format, editing, and pacing — did not quite hit the mark. Thus, while I fully acknowledge and applaud Top Chef’s desire to experiment after all these years, the constant deviations from the original formula mostly left me feeling perplexed rather than exhilarated.
It’s been troubling to me that Matty seems unable to consider the broader picture concerning Olympia’s potential guilt. After all, circumstances can be complex and people do change! However, the storyline that Jennie Snyder Urman has been developing since around mid-season suggests that Matty can be doggedly obstinate when it comes to her causes. We’re supposed to grasp that she may have unfairly judged Ellie in the past, but this newfound understanding hasn’t affected how she’s handling her covert operation at all.
The narrative commences with a jest. As a woman in labor is wheeled into the ER of ‘The Pitt’, Dr. Mel discreetly peeks beneath the blanket covering the woman’s legs to assess her progress. “I see hair!” she declares, drawing puzzled looks from the surrounding crowd. “…Hair from the baby,” she clarifies. This seemingly innocuous remark sets the stage for a shot that encapsulates ‘The Pitt’s’ unique portrayal of childbirth. Mel’s examination mirrors typical television depictions of labor: a swift glance under the blanket, maintaining an air of neatness and modesty. However, Dr. Collins soon intervenes, lifting the blanket once more – right in the center of the frame, there appears an unfiltered, clear image of a baby’s head emerging from a vaginal canal. This subtle misdirection carries a hint of self-satisfaction. If you assumed this would be hidden and sanitized, you are quite mistaken. In ‘The Pitt’, you will witness everything openly.
In “The Pitt,” the episode “5:00 P.M” stands out due to its skillful balance of contrasting elements. It manages to heighten the usual intensity and disorder, as Dr. Robby navigates through two urgent cases simultaneously. However, it also offers two heartfelt moments that delve into character development, which I’ve rewatched several times because they resonate deeply with me.
“The Pitt” often employs tonal shifts as a reflection of real life, given the nature of the work Dr. Robby and his team are engaged in. What’s impressive about “The Pitt” is how seamlessly it weaves these disparate tones into a compelling symphony. Whether we move from pandemonium to tranquility or sorrow to humor, as seen in scenes ranging from a woman fighting for her life due to postpartum hemorrhage to a surgeon casually enjoying a free slice of pizza, the transition feels organic and cohesive.
Maddie is the one to uncover the truth about Amber, whom I believe we can refer to by her first name as Maddie does frequently to create a personal bond. This Amber exhibits an unusual condition. When our beloved 911 dispatcher (apologies to Josh) awakens, she finds herself shackled in a basement. Her captor is Amber, or at least a version of her: The detective appears to be engaged in a heated disagreement with herself. There’s a cruel Amber and a kind Amber, only the harsh one was responsible for kidnapping people. However, Maddie struggles to comprehend the multiple personalities; nonetheless, she learns crucial details about the Bullock case. Specifically, that Amber was indeed involved in everything, including the 911 calls. Amber aimed to persuade Maddie that it was all a hoax, but when Maddie presented evidence at her office, Amber had no choice but to implicate Bullock. Despite Bullock’s staged suicide, Amber is concerned that Maddie may have detected something amiss – like the unnatural voice on the 911 calls, for instance – and informed Athena. She didn’t, but Amber isn’t feeling very trustworthy now, and honestly, who could blame her?
This part of the episode could have been titled “Madonna’s Face” due to its excessive use of filler material. Even Salley’s plastic surgeon, who is scheduled to remove her breast implants and extra E, couldn’t salvage this situation. Incidentally, didn’t it strike you as peculiar how fixated he seemed on her breasts during the consultation? Frankly, if I were a woman considering a breast augmentation, I’d opt for a female surgeon. While a male surgeon might cater to men’s preferences, a female surgeon would enhance your appearance to make other women envious of your transformed physique.
Daniel Radcliffe, known for his unique preferences, has taken on a variety of intriguing roles such as Weird Al in a mock biopic, a flatulent corpse, and a secondary role in a Sondheim musical. His next move is joining the comedy pilot for NBC titled yet-to-be-named by Robert Carlock, former showrunner of 30 Rock, and … Read more