John from Cincinnati: His Visit: Day Five
(S01E06) Wow. Wow. Wow. That's it. That's the review. Wow. I think my brain blew a fuse. Last week's interminable bridge episode was totally worth it for this. The pay-off. Love it, or hate it. This is the show to be watching right now.
Let me apologize in advance. This review isn't going to be terribly long. We like to get our reviews up within a few hours after the show airs. That means I don't have much time to process what the hell just happened. Milch drove us straight into crazy town tonight, and I have no idea where to start. I suppose John's first out-of-body monologue is as good a place as any. From John to Cissy with love. A limited time offer. I felt for Cissy this week. All that self-loathing and pain, and now, we know why. We also know that John can astral project or float on the radio waves or manifest himself in case of emergency. John got around in this episode. He channeled Bill's dead wife. He said things Joe was only thinking in his head. He got Cissy to baptize a gun and staged some sort of divine Beckett play complete with spiral staircase and sax solo. Oh, and Room 24 certainly did bring out its dead. I'm still waiting for Meyer to get the world-rocking blowjob John predicted in the first episode, but otherwise, all of John's ramblings have come to fruition.
Poor Meyer. We met his fiance Daphne this week. He's afraid of her, which is sad. I'm getting a tiny bit overwhelmed by meeting all these new characters. I don't know what to make of the internet cafe folks or the recurring Vato, but you know, what are you going to do? The past is converging in this beachside bordertown, and we're all connected, and we all might just heal each other, and you know, whatever else John's "father" has in store.
I was blown away by a couple of performances this week. Brian Van Holt in his scene on the phone with Tina, and Paul Ben-Victor as Palaka. That scene between Butchie and Tina could have been gut-wrenchingly awful. It was melodramatic to an extreme, but Van Holt pulled it off - switching between rage and confusion and compassion. And, poor Palaka, got a little TLC. That was a nice scene. The doctor extended a hand, but it took Freddy to get him to accept it.
In other weirdness, Cass was inexplicably hungry, Linc got pulled back into the drama and Barry would apparently take Cissy as a mother over none at all. The biggest weirdness of all, however, was definitely the final set piece - what a massive mind f@ck. Cass' camera and John's "father's eyes" seem to know a version of the world with far less pain and recrimination. The past and the future slip and slide all over the place in John's mutterings, and the hell if I know what's going on. Anyone have any guesses on all that business about the line and the circle and the word on the wall and the stick and the mud and their hugeness?
This show has way more reference points for me in theater and dance than it does in conventional television. It's more like abstract art. No one answer. Open to interpretation. I don't find myself searching for spoilers on the show. I do, however, find myself pulling out old philosophy texts and thinking about the human condition. I guess that's something of an accomplishment for a TV show. Now that the "end is near" and the joker in the deck is starting to play his own cards, what are you making of John from Cincinnati?
|David Milch and Kem Nunn||27 (4.4%)|
|The Mothership||23 (3.8%)|
|None of the Above||82 (13.4%)|