As a seasoned journalist with a penchant for digging into stories that others might deem off-limits, I find myself deeply moved by Maddie’s relentless pursuit of the truth in this gripping tale. Her determination, reminiscent of a modern-day Lois Lane, is both inspiring and disheartening, as she navigates through a world vastly different from her own.
One captivating feature of the storytelling in “Lady in the Lake” is its focus on Maddie, subtly mirroring Laura Lippman’s novel. The show consistently puts Maddie under the microscope as a central figure. Her entrance into the Tessie Durst case marked the beginning of her separation from Milton, and she is now poised to be drawn into the mystery of Cleo Johnson’s disappearance. This new case appears to serve her self-driven journalistic aspirations once more.
In most other series, Maddie’s privileged demeanor and unwarranted self-assurance might be overlooked. However, “Lady in the Lake” consistently reminds us that each character views themselves as the protagonist in their own life. It so happens that Maddie frequently finds herself at the heart of other narratives.
It’s evident that Tessie’s murder, linked to Allan who was once Maddie’s high school boyfriend, resurfaced deep-seated problems Maddie had been trying to hide for over a decade. As the episode begins, it’s apparent that she had a significant relationship with Allan’s father, to the point where he vowed to abandon his family and start a new life with her. However, this plan collapsed when Maddie revealed she was pregnant, to which he responded, “We might have company.” Regrettably, things didn’t turn out as planned… instead, Maddie now finds herself facing Milton, the man she eventually married and had a child with.
At the Silver Dollar diner, it turns out that the two have decided to discuss and finalize their divorce. This news catches Maddie off guard, as Milton had been reluctant to even start the paperwork: it seems he’s found a new romantic interest – a woman who is twenty-five years old! Now, Milton needs Maddie to sign the divorce papers, and she agrees as long as she can receive alimony and possibly start a fresh chapter in her life, freeing herself from the monotonous past.
In her current situation, Maddie’s life isn’t particularly wonderful. At The Star, she’s been unwillingly transformed into both a caregiver and a plaything for her male coworkers, who seem to delight in slapping her on the backside whenever she brings them bagels. Her fellow female colleague often expresses disdain at Maddie’s arrival in the newsroom, referring to her as “Mrs. Helpline.” The majority of Maddie’s work is menial, such as responding to letters from across the city about various complaints. Some of these complaints are published in the paper, while others, like the one that led Maddie to report the broken fountain by the lake, uncover hidden issues – for instance, discovering a dead body in the fountain, which turned out to be Cleo Johnson, a Black woman who had been missing for months.
The commotion ultimately leads the authorities to the newspaper, where Maddie cleverly recognizes that the letter she received earlier is now crucial evidence. She informs Bob that she probably discarded it since it didn’t warrant attention in the paper; instead, she chooses to investigate the matter further. Initially, her suspicion falls on Stephan as he wrote: “Why did you kill that black woman?” during a phone conversation with him. However, she is aware that he couldn’t have committed the crime because he was with her when Cleo’s body was disposed of. This alibi cannot clear him in an official sense, but it might help exonerate him in her mind.
It’s advisable that Maddie should not delve into this story. Bob suggests she let the Afro paper handle it, as they are the ones who will likely cover Cleo’s case. The Star team seems disinterested in the story, and Maddie persists in following it despite their advice. Instead of trying to get information from The Baltimore Afro-American newspaper offices, she might find herself in a situation where one of their reporters hands her all the details on Cleo. Her eagerness could lead to criticism for overconfidence. Despite potential personal changes like divorce and moving downtown, Maddie still doesn’t share the same world as Cleo did. However, as she takes home stacks of Afro newspapers to study about the missing young woman, she may discover connections between them that she hadn’t initially considered.
As I’m tracing Cleo’s tale, snipping articles and recognizing familiar faces that follow suit, it gives me quite a chill, how our stories seem to cross paths relentlessly. The mere thought of attending her funeral, with all the heavyweights present – Cleo’s kin, Ferdie, Myrtle Summers, Reggie, and Shell Gordon – is already eerie. However, it’s Slappy who creates quite a ruckus, accusing everyone in that room of being complicit in his wife’s sordid demise. He specifically targets Myrtle and Shell, causing such a stir that he gets booted out of the church. Yet, Maddie sees an opportunity in this, trying to coax him into confiding in her by following him outside.
It’s during this time that Maddie uncovers a significant story: She discovers about Cleo’s Christmas Day bet, which seemed to involve Lucille and possibly manipulating Gordon’s numbers game. Showing great courage, Maddie decides to investigate this story on her own (with Judith by her side). Remarkably, she even manages to arrange a meeting with Shell Gordon. Although he was cold, he responded to her questions while making it clear that she shouldn’t make unfounded accusations. Throughout their tense conversation, he subtly highlighted the unique position of privilege that Maddie holds as a Jewish woman, despite being part of a marginalized minority. Interestingly, it was during this meeting that Maddie connects the dots and suspects Reggie was the Black man with a swollen eye at the pet shop on that day.
In Maddie’s upcoming encounter with Stephan’s mother, Ms. Zawadzkie, the discussion takes an unexpected turn as she reveals her origins from Treblinka and admits that she hadn’t previously interacted much with Jews before the construction of the concentration camps in the vicinity. The conversation then veers towards Stephan and Tessie, with both women tiptoeing around the subject. Ms. Zawadzkie appears to be firmly resolved to keep Stephan imprisoned for his safety or perhaps to protect others. As Maddie persists in questioning her, it becomes increasingly apparent that Ms. Zawadzkie is concealing something significant, and she resorts to aggressive behavior towards Maddie in an attempt to maintain her secret.
The scene seems reminiscent of classic Final Girl tropes, where Maddie demonstrates remarkable resilience in defending herself against Ms. Zawadzkie. She locates the courage to subdue Ms. Zawadzkie and secure the bathroom, only then to crawl across the floor to reach the phone and request aid. The episode concludes with Maddie, dressed in her striking yellow attire, lying on the floor covered in blood while gazing at Ms. Zawadzkie’s motionless form. Unable to clearly explain her urgent situation to the operator over the phone, she is left in a tense and unresolved state, hinting at a suspenseful cliffhanger.
Clues & Things
In five episodes, we managed to recreate our finest tribute to the character Leo, mimicking the famous “Once Upon a Time… in Hollywood” meme, where we’d typically point at the screen. This time, it was during the scene when the coroner identified the body discovered in the fountain as the “Lady in the Lake.”
Yes, I noticed the trio of icons that Maddie showcased near her desk – Anne Frank, Barbra Streisand, and Gloria Steinem. They’re truly inspiring women!
In my fangirl moment with journalism icon Edna, she imparted three crucial lessons I’ve since internalized: never seek approval before acting, refrain from offering apologies, and always gauge the vibe of the situation.
Previously, I’ve mentioned how Jean Marc Vallée’s skillful editing techniques seamlessly intertwine surreal recollections with profound character insights in the series Lady in the Lake. This fusion was particularly noticeable in the sequences where Maddie was gathering clues, especially when she was wearing the dress that belonged to Cleo and which she has possessed since Thanksgiving.
As a woman who has had personal experiences with unplanned pregnancies and difficult family dynamics, I found myself deeply moved by this scene in the story. The revelation that Maddie had an abortion raises questions about her relationship with Milton and Seth’s paternity, adding layers of complexity to their family history. It seems that she may have kept a secret pregnancy from Allan’s father, which could have far-reaching implications for their entire family tree. This situation highlights the importance of open communication and understanding in relationships, as well as the challenges women face when making personal decisions about their reproductive health. I can only imagine the emotional turmoil Maddie must have experienced during this time, and I empathize with her struggles to balance her own needs with the expectations placed upon her by society and those around her.
As a music enthusiast who has explored various genres and artists from around the globe, I must say that “Cha, cha senorita” by Maria Koterbska is a captivating and unique piece that stands out in my collection. The song’s rhythm and melody instantly transport me to vibrant, colorful settings, reminiscent of my travels through Spain and Latin America. Maria’s powerful yet melodious voice adds an authentic touch, making the song feel like a personal invitation to join the festivities. Overall, “Cha, cha senorita” is a must-listen for anyone who appreciates world music and wants to embark on a musical journey that transcends borders.
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2024-08-09 15:54