Lady in the Lake Recap: Dream Logic

As a seasoned television critic with a soft spot for noir narratives, I find myself utterly captivated by the intricate web of mystery that Lady in the Lake has woven over its episodes. The latest installment, in particular, left me spellbound with its vivid imagery and thought-provoking plot twists.

This episode was a favorite of mine. Some might find its abstract logic and dreamlike visuals off-putting, but remember, it’s a mystery series. Deviating from the conventional plot progression to focus on Maddie’s inner world isn’t just daring; it challenges the notion that plot should be the sole reason we watch serialized storytelling. Instead, it emphasizes the importance of atmosphere, emotions, and dream sequences. For instance, an episode featuring Cleo look-alikes in her signature baby-blue coat dancing, and makeshift funerals for Maddie, helps deepen the show’s central themes. As Anaïs Nin once said, “We rarely experience reality directly. Mostly, we are thinking about it.” This episode provides an ideal setting to uncover truths, especially those hidden within our minds and complex subconscious.

Let me bring you up to speed. Remember when Maddie was stabbed? That was by none other than Ms. Zawadzkie, Stephan’s mother. In her own home, Maddie confronted her and in a fit of panic, realizing she was about to be exposed, Ms. Zawadzkie confessed to having killed Tessie. Now, Maddie is recovering from her wound at the hospital, teetering between consciousness and unconsciousness. The central point of this episode isn’t the streets of Baltimore; instead, we delve into the troubled mind of an aspiring journalist who’s trying to make sense of events that led to this moment. While others, like Bob Bauer, are more interested in Tessie’s story, Maddie is determined to pursue a different narrative: “Cleo’s the story,” she persists, but her efforts fall on deaf ears.

We begin with a sequence that’s ostensibly a flashback: Maddie, newly married to Milton, is attending a sea-themed event where she runs into her high-school sweetheart, Allan. She’s dressed as Esther Williams; he’s donning a sailor suit and is, as it turns out, a tad drunk. The drunkenness is enough to push Allan into blunt honesty: He knew about Maddie and his father. That’s why he’d broken up with her. And, as the two move away from the crowd to have a more private conversation (“You weren’t his only girl,” he tells her, both cutting and compassionate in equal measure), they end up hooking up — explaining, in the process, who Seth’s father actually is. And why, perhaps, Maddie felt so close to Tessie after all.

Soon, though, the memory gives way to more nightmarish scenarios: While at the hospital (seemingly visited by Allan and Seth), Maddie finds out she’s very, very pregnant and immediately goes into labor in what has to be the most laughably on-the-nose moment of the entire episode. With echoes of Rosemary’s Baby (what kind of creature could Maddie be giving birth to?), we see she bears not a baby at all but a baby-shaped story. Namely, a baby made of newspaper. (“Your story,” the nurse who delivers this creature tells her, “it needs a good lede.”)

As a longtime admirer of Natalie Portman’s acting prowess, I find it captivating how she consistently portrays complex and multidimensional female characters that resonate with me deeply. Her portrayal of Maddie in this particular scene is no exception. With her extensive experience playing women who are pushed to their limits yet retain an undeniable strength and resilience, she has become a beacon for actresses everywhere.

As a woman of color who has experienced racial discord in my own life, I found this episode particularly resonant. On the surface, it seemed to be about Maddie uncovering the truth about Cleo’s death, but it also served as a powerful visual representation of the racial divisions that underpin Lady in the Lake. The recurring images of Maddie interacting with Reggie served as a clear indication that she was making progress on the case, but the most captivating scenes focused on Maddie’s self-centeredness and the vast chasm between the close-knit Jewish community she once belonged to and the African American community she is now trying to aid. This episode struck a chord with me because it portrayed the complexities of race relations in a way that felt authentic and thought-provoking, and I found myself reflecting on my own experiences as I watched.

Maddie’s dream is best summarized by the two significant scenes: her attending a funeral that symbolizes herself and a visit to twin pools later on. When Maddie reaches her own funeral (held at the department store where she first encountered Cleo), she has an opportunity to understand who Madeline Schwartz was. A black priest queries the attendees about who she was, among them a mannequin representing Seth. Maddie’s mother remains silent, admitting to not fully comprehending her daughter’s identity, which is rife with both guilt and sadness. As they stumble towards an honest interaction (“I don’t want what you didn’t have,” Maddie tells her mother, “I want what I didn’t have”), we transition into a scene where the journalist, who was once a mother and wife, cannot help but obstruct herself: “She fought for justice,” she declares to those present, inflating her self-image while simultaneously revealing her own shortcomings.

In my critique, I found myself delving into Maddie’s psyche as she ventures into two mental oases: one labeled previously as a “Whites Only” pool, now stripped of its “No Jews” decree. Her mother, adorned in summer finery, informs her, “You should know, we’re white now!” While the symbolism here might seem on the nose, isn’t it dreamlike imagery that often leaves a striking impact?

Instead, Maddie trails a black trumpet player, leading her to an area labeled “For Coloreds Only” – a pool that’s more like a lake. Within this crowd, people are joyfully engaging in the numbers game. High above, Cleo performs an Esther Williams-like act, culminating in a final dive that makes Maddie jump into those murky waters to prevent Cleo from drowning.

In a different phrasing, “Maddie urgently asks, ‘Who took your life?’, but her query is interrupted by the presence of a Black woman in the hospital. This Black woman, dressed as a nurse, delivers a line intended to confound everything we’ve witnessed so far: ‘I am Cleo Johnson,’ she informs Maddie, leaving her with no simple means to comprehend this startling disclosure.”

Clues & Things

As a longtime fan of both drama and dance, I must say that the recent tweet featuring David Corenswet donning a sailor outfit and dancing with a shirtless Y’lan Noel has certainly caught my attention. Having followed Maddie’s life journey through various films and shows, it’s clear to me that she has an eye for talent and style when it comes to the men in her life. Milton aside, this latest display of dance prowess from these two talented actors only further cements my belief that Maddie knows a thing or two about what makes a man appealing. I can’t wait to see more of their performances in the future!

• I guess I should do a “Meanwhile … in IRL Baltimore”: Ferdie’s continued investigation leads him to Shell and Reggie. Armed with what Maddie knew about Cleo’s numbers win (courtesy of Slappy, who’s now been charged with Cleo’s murder!), he confronts the wily if affable Shell. All it gets him is a bit of a lecture on African American community in-fighting … and sadly, even before Ferdie can keep pushing his luck, he learns that, as the white supremacist group NSRP (National States’ Rights Party) descends on Baltimore, he’s been pressured to resign. The only way not to let it out is that he’s been sleeping with Maddie, a scandal the department and Ferdie, no doubt, would like to keep away from the press. It’s clearly all politics, but it leaves him stripped of the detective moniker he’d so fought for. Curious that both of those scenes are punctuated by frank, uncomfortable conversations around race, with Ferdie rightly calling out his fellow white colleague for his blatant racism.

Regarding the flashback scenes, I’ve been pondering over the de-aging technique used in the series. Frankly, it seems incredibly convincing to me; does it appear that way to you as well, when they portray young Natalie’s appearance and voice?

As a movie buff, I found myself pondering over that scene where Seth removed his glasses, reminding me a bit of Clark Kent, and seemed to recognize he’s Allan’s son. Could it be that this moment was merely playing in Maddie’s mind or perhaps a fragment of a memory hinting that her son has finally uncovered the truth?

Tessie Durst, quoting Anaïs Nin to Maddie amidst the dogged reporter’s persistent search for understanding as more bodies are unearthed, presents an unusual yet captivating scene – and it mirrors the distinctly dreamlike atmosphere that “Lady in the Lake” has developed throughout its series.

To what extent must one be relentlessly determined to leverage any available resources during recovery, and insist to a fellow worker that they cannot pen the account of your survival after being stabbed, even though the newspaper is demanding it urgently?

• Amazing what stellar music direction can do to an episode like this: Everything from that Peggy Lee “Is That All There Is?” opening through to the use of “Que Sera, Sera” and “Go Down Moses” and climaxing with Shirley Bassey’s “The Impossible Dream,” you could basically track down what this penultimate episode was tracing as it reminded viewers of the tensions between Maddie’s Jewish identity and her search for the truth in Cleo’s tale. (Also, the sight of both Ingram and Portman in full Esther Williams Million Dollar Mermaid garb was a thing of mirrored beauty.)

2024-08-17 00:54

Lady in the Lake Recap: Dream Logic

Clues & Things

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