The Husband:

Well, here it is – the final part of the batshit crazy story that was Fox’s Prison Break. This is it. There will be no comic book continuation. There will be no more episodes. There will be no more TV movies. It’s over. And I’ve finally been able to get my hands on a legal copy of this straight-to-DVD movie. I emphasize the legality of it because, while this 90-minute feature has already aired in other countries such as Israel and the UK (during our honeymoon in Spain, my wife and I were baffled to experience the enormous popularity of this show in Europe, and were amazed to find that people completely unrelated to the show’s production were even making highly popular music videos as an homage to the program), it never aired in the United States. Why? Because much like the unaired Dollhouse finale (which sounds more and more insane the more I hear about this), the money was put up to make this episode, but Fox never had it in their contract that they had to give up two hours of their summer schedule to air a wrap-up of what had become a low-rated show. But the American DVD comes out tomorrow, so consider this a legal review for a legal product. I’m particular about these kinds of things.

I will say this – this was not the movie I was expecting. And that’s fine. I like to be surprised. Last we checked in on the Fox River gang five years in the future, where all the good guys were having good lives, and all the bad guys were either dead, in prison or in the electric chair. But there was a catch – while Sara gave birth to Michael Scofield’s son, the final episode ends on Michael’s grave, sitting near a Costa Rican beach. What the hell happened?

I assumed in my last review the following:

There’s a final straight-to-DVD Prison Break film coming out this summer, so it’s pretty clear that Michael isn’t actually dead but is thought to be for some ridiculous reason or another. Maybe he’s hiding from everyone he affected during his stint in and after Fox River, a plan that backfired so many times and involved so many others that Michael and Lincoln have basically directly or indirectly caused the death of hundreds of people. That’d be a pretty big weight on my conscience.

So, clearly, I expected the movie to take place post-coda, where Michael’s presumed faked suicide would play out and we’d get one final middle finger to the system and the dreaded Company.

So color me surprised when the movie picked the story up mere weeks after the dissolution of the Company and the exoneration of all the main characters. Just as Michael and a pregnant Sara are getting married, the Feds come in with an arrest warrant. But this time, it’s for one Sara Tancredi. Why? Remember when she fatally shot Michael and Lincoln’s mother (Kathleen Quinlan), who was one of the leaders of the Company? Yeah, that’s being seen as murder, considering it’s hard to prove that the Company exists. And so her and her pregnant belly are thrown into the women’s side of a maximum security prison in Florida, and Michael makes it his mission to do one final prison break to save the woman he loves.

Man, why do I feel this compulsive need to escape from stuff?

Man, why do I feel this compulsive need to escape from stuff?

But things are, of course, more complicated than that. In the men’s section of the prison, General Krantz, now horribly scarred from that nasty acid burn during the final bit of season four, wants nothing more than to see Sara dead, and so he puts a bounty on her head. And who’s in there with Krantz but the deliciously evil T-Bag himself. When it becomes quite clear to Sara that she is as good as dead (her food is poisoned within the first couple days), she decides that she needs protection (even the guards want to beat the shit out of her for her participation in the Fox River breakout), and the only way to do that is to join the prison gang known as the Family, led by Daddy (Tank Girl’s Lori Petty, who has made a career out of highly bizarre, very mush-mouthed and oddly brilliant performances). But oh no! It’s even more complicated than that, because who’s in the women’s prison also? Susan B. Anthony/Gretchen Morgan, who has done her share of fucking everything up for the Fox River gang starting with all that season 3 nonsense. But is it finally her time to make up for all her misdeeds? And will T-Bag ever really change, or is his unpredictability becoming entirely predictable? And will Mahone, desperate to return to working at the FBI, turn on his foes-turned-friends?

Yes, it’s a little cheap that they would decide to end the show with yet another prison break, but it’s also somewhat warm and familiar. It’s great to bring the show back to its bare essentials, and only this time the tables are turned, with Michael, Linc and the gang on the outside and Sara on the inside. And revisiting prison politics (Daddy is without question the film’s best character, echoing the menace of Peter Stormare’s Abruzzi from s1 and s2 but giving it an eerie kind ness) brings to focus some of s1’s best qualities. (The knife fight in the shower room has one of the most shocking moments I can remember on Prison Break.) And while the breakout itself does leave a little to be desired from a technical standpoint – even from the beginning, the show was always extremely clever about how far they were willing to go to get its audience to suspend their disbelief – its emotional content is only matched by the Fox River breakout process.

And while I do not want to spoil anything, we do get a definite answer of what led to Michael Scofield’s tombstone just a few years down the line. But I’ll leave you Prison Break fans to discover what happened, because while it may not completely shock anybody, it makes perfect sense in the grand scheme of things.

So check it out starting tomorrow from Netflix or whatever service you use, and I hope you enjoy what closure it’s able to bring to those such as myself who already miss that crazy show.

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The Husband:

I think my unbridled enjoyment of this out-of-control, batshit-crazy action/adventure/thriller show is well documented. And by well documented, I actually just mean I did a write-up back in December. Just one. Here.

I think that pretty much sums up my feelings for the entire run of the series save for the final six episodes that closed out both the fourth season and, thanks to Fox’s swinging axe, the entire series. With this series, it all comes down to whether or not one is willing to suspend their disbelief week-after-week and realize that, while the show technically takes place in the real world (i.e. non-fantasy), it’s so absolutely ridiculous that it seems to exist in a sort of Bizarro World. As I’ve never had a problem separating common sense from viewing a television show, a movie or a play, this series seemed destined to become a DVR favorite for me, and even if I missed giant portions of the show (such as my scheduling snafu that forced me to miss s3), this is one of those programs that actually works better on DVD, so you can marathon the shit out of its particular brand of madness.

Well, we could always team up with MacGruber at some point, right?

Well, we could always team up with MacGruber at some point, right?

But where does s4, now that it’s closed shop, fall in with the rest of the seasons? I break it down thusly.

Season 1: Incredible network television

Season 2: Good caper, but spread a little thin

Season 3: Underrated and damn exciting, thanks especially to its strike-shortened season

Season 4: Okay caper, spread way too thin

I think s4 could have really benefited from a few more storylines that shifted its major characters away from all the Scylla drama – you know, that file that everybody wanted because it could cause a global conflict thanks to its information on how to build…wait a minute, it doesn’t matter what the hell it does, because it is the perfect example of a MacGuffin – and maybe have started on something a little more emotional and character-focused. Because even during s4’s fall season, there were about 50 major characters all vying for the same prize, and once Gretchen/Susan went off on her merry way, we were left with men staring at each other with increasing intensity. Thank God for the introduction of Michael and Lincoln’s thought-dead mother, who is not only not-dead but is sort of a domestic terrorist and complete criminal mastermind. (Why they chose Oscar-nominee Kathleen Quinlan to play this character I’ll never know, as her attempt at dastard mustache-twirling evilness came off more silly than menacing.) As she attempted to frame her sons once again (turns out she was heavily involved in earlier series conspiracies all thanks to that glorious enigma known as The Company, she puts the emotional hammer down hard by revealing that Lincoln was adopted and was actually birthed by an idiotic, violent drug addict – which, to be fair, explains a lot about the dichotomy between Lincoln and Michael – and proceeds to torment the now-pregnant Sara Tancredi. And as the various character bump into each other (now in Miami, yet another location in this mini-globe trotting adventure), nobody knows who to trust anymore. Along this line, I could have definitely done without the Lincoln/Michael rivalry, as each wanted different things in terms of what to do with Scylla and/or who to give it to and why.

Finally broken out . . . but not quickly enough to escape Fox's axe.

Finally broken out . . . but not quickly enough to escape Fox's axe.

But while I wasn’t 100% invested in four of the six spring episodes, the final two-hour episode was designed almost solely for fans. With the wonderful returns of Sucre and C-Note, finding out the ultimate way to reward the two “brothers” who busted them out of jail in the first place, a piece of the s1 wonder (and the subtler bits from s2) came roaring back. And, as an added bonus, Paul Adelstein took a break from being a sex-addicted pediatrician on Private Practice to revive his role as the bad-turned-good agent Paul Kellerman and pretty much deus ex machina the shit out of this wonky show. As Michael and Sara finally discover that their relationship can continue with baby attached, the future looks bright, as Kellerman allows all the remaining Fox River inmates to strike an immunity deal and be done with this nonsense once and for all. All the inmates, of course, except for the vicious child molester Theodore “T-Bag” Bagwell, who the brothers decide to send back to jail, where four years later (thank you, Prison Break coda) he is once again a leader among criminals within the walls of a penitentiary, but only that. No out-in-public sniveling coward.

But what else happened during the immensely satisfying coda?

  • The ever-changing-sides Mahone is now clean and off his anti-psychotic drugs and is in a relationship with his former FBI partner (who did, unfortunately, trick him into police custody earlier this season.)
  • Sucre and C-Note are ecstatic to be with their respective families, no longer on the run from the PoPo.
  • Bellick is still dead.
  • General Krantz is put to death in the electric chair after being implicated in countless domestic terrorist activities.
  • Kellerman is now a congressman, albeit a controversial one thanks to his checkered agent past.
  • Donald Self, during a terrifying escape from the evil members of The Company that involved him breaking his leg in a near-Cronenberg level of grossness and then being poisoned while recovering at the hospital, is now a vegetable at an assisted living home, running over, in his head, his treachery that led to the murder of his innocent family.
  • Linc and Sofia are living, deeply in love, back in Central America, the setting of season 3.
  • Sara loves her son, Michael Jr.
  • Michael is dead.

Wait. What? As the remaining good guys visit a seaside cemetery, we find that this is indeed true. Michael finally succumbed to his brain condition that put him in the operating room at the end of s4’s fall season. Is this the way you’re going to send out your main character? By putting the ever-present origami crane that defined the first season on his headstone, and then walking away?

There’s a final straight-to-DVD Prison Break film coming out this summer, so it’s pretty clear that Michael isn’t actually dead but is thought to be for some ridiculous reason or another. Maybe he’s hiding from everyone he affected during his stint in and after Fox River, a plan that backfired so many times and involved so many others that Michael and Lincoln have basically directly or indirectly caused the death of hundreds of people. That’d be a pretty big weight on my conscience.

We’ll see when all the answers are revealed. I don’t know about you, but Stephen King and I had a fucking blast with this show, and we’re not ashamed to admit it. It was a wild adventure show through and through, a wonderful bit of escapist entertainment, and when this show wanted to reallllly ratchet up the tension, no show on television (other than Lost) could do it as well as Prison Break.

Vaya con dios, Michael Scofield and Lincoln Burrows. Fox will be less insane without you.

The Wife:

The final four episodes of this season of House almost made up for Kutner’s random-ass suicide in their inventiveness. Almost. I thoroughly enjoyed the return of Amber as House’s ghostly hallucination and his three-episode quest to discern exactly what’s wrong with him, either way knowing that if he’s crazy, he can’t practice medicine, and if he’s experiencing side effects from his Vicodin addiction, he can’t practice medicine because once he’s clean he’ll be in too much pain. Anne Dudek was delightful has his subconscious manifestation throughout this arc, especially the moment in which she reappears after House thinks he has staved her off by OD’ing on insulin, singing old jazz standards over the microphone at his bar, echoing her first appearance beside his piano. But nothing, really, was more chilling than the final episode, when House realizes he’d hallucinated the entire night he spend kicking Vicodin with Cuddy, ending in the two of them sleeping together. Reliving all of the moments we saw of him flipping coins or examining a tube of lipstick are replayed with Vicodin bottles replacing those objects, suggesting a very powerful drug addiction that has completely taken over House’s life, was pretty brilliant. Frankly, I’d prefer more arcs like this, rather than so many one-off episodes. But what else are you going to do with a 24-episode season? So while everyone else attends Cameron and Chase’s wedding (they spent these past few episodes almost not getting married because a. Cameron kind of got cold feet b. House nearly killed Chase with a stripper covered in strawberry body butter . . . that apparently was made with actual strawberry extract and c. Chase was being a dick to Cameron about keeping her dead husband’s sperm on ice because he took it to mean that she thought they weren’t going to work out, rather than, you know, being the last thing she has to hold on to of her fucking husband), House checks himself in to a mental institution . . . which he will inevitably check himself out of at the beginning of next season because you can do that kind of thing with you are voluntarily committed.

I should have known this was too good to be true . . .

I should have known this was too good to be true . . .

As far as the patients were concerned, I’m often irritated by how precious the conceits are in which every patient is a metaphor for someone on the team, etc. So I totally get why the guy with split brain whose hand was not his hand was necessary for the metaphor of the finale, it was also perhaps added just a tad too much levity, despite how much Thirteen et all tried to tell me it was creepy. The only patient that really got to me out of this bunch was the ballerina who lost her skin. A lot of my research deals with holes in the surface of the body, mitigations of that surface or the abjecta beneath the surface, but I found her skinlessness to actually be quite frightening. Perhaps its because I’ve had skin cancer that I find the idea of losing that much skin so terrifying (which, for the record, makes no sense, because the removal of skin cancers just leaves some awesome scars), but its more likely the fact that, without the mitigation of the surface, the inside is all that much more frightening. We forget that our skin is the largest organ on our bodies, and so it is vital that we take care of it. Losing a little bit when you scrape your elbow or knee is fine, and hardly horrifying, but losing so much that we are exposed so wholly to the world is truly unsettling. And deadly. I shuddered for that poor girl. She’s just damn lucky that Princeton-Plainsboro has so many fresh cadavers from which to harvest grafts. I know the episode wanted us to sympathize more with the possibility that she, a dancer, would have to have her gangrenous hands and feet removed in order to live (Taub managed to revive the tissue, somehow), but the loss of her flesh was something I couldn’t get out of my head. And I doubt I will.

So, damn you, House, you actually got me. Good for you.

Considering how poorly I did at keeping up with House this year, I don’t think I’ll write about it next year. I’ll still be watching, though, storing up dozens of episodes on my DVR to marathon whenever I get a break from my book learnin’.

The Husband:

And so the month of season finales involving hallucinations continue, and between this, Bones, and Grey’s Anatomy, I wonder what else have I not come across? I know how the US version of Life on Mars ends (but since neither my wife nor I have finished watching the second half of the season, I’ll refrain from saying what it is), but what about the shows I’m behind on?

Smallville, of course, always has at least a couple hallucination episodes a season – and more now that they’ve been struggling to find stories in Metropolis, a task that doesn’t actually sound very hard – but will Prison Break get all wonky during its final five-episode run that’s sitting on my DVR? (Michael does have major brain shenanigans last time I checked, so this has potential.)

Does Lie to Me, which we’ve DVRed but haven’t touched yet, turn everything on its head by revealing that Tim Roth is just a figment of our imagination? (Considering he’s been both a futuristic ape and Abomination in The Incredible Hulk, this could be a possibility.)

Is Reaper going to turn out to be an extremely vivid dream concocted by Sock during a very long nap at the Work Bench? Will that explain Andi losing her personality this season?

Is that missing episode of Sit Down, Shut Up an apology to the idiots who didn’t find it funny and complained about the intentionally awkward animation-on-top-of-real-backgrounds?

Motherfucker! Ugly Betty ended in a hallucination, too! What happened here? Is this a veiled backlash against Obama? Did all the showrunners stop taking their medication?

The only time I can remember even the slightest bit of consistency across certain shows during season finales was May, 1996 (I had to check Wikipedia for the year, but remember everything else about the following without any aid.) For some reason, three major shows in my life decided to kind of lose their minds and go way too dark for my young teenage brain. With Seinfeld, it was Susan, George’s fiancée, dying as a result of toxic envelope glue, and when the main cast stopped by the hospital, they pretty much felt nothing and went to go get some coffee. On Roseanne, Dan breaks his diet and he and Roseanne get into one of the foulest shouting matches I’ve ever seen on a family sitcom, devolving into back-and-forth screams of “Fatty! Fatty! Fatty!” (Let’s not even mention the final season, which was all a dream.) And, finally, Mad About You challenged Paul and Jamie’s marriage when she kissed the man she was campaigning for and Paul lusted after another woman but didn’t do anything, leading to a quiet, disturbing fight.

It just seemed like, for no discernable reason, sitcoms ended that year wanting us to feel like absolute shit. So I ask, does anybody have an explanation for this madness in dear old 2009?

Don’t get me wrong, I thought everything with Dudek was some of the most compelling minutes House has ever had, and even without her, the final mindfuck, while hard to avoid in the press after the fact, was still eerily effective, thanks in no small part to Hugh Laurie’s continued brilliance on this show. Does he still not have an Emmy? (Now that Boston Legal is gone, Spader’s absence in the category will help considerably. That is, if Jon Hamm’s John Ham doesn’t take it, which would not be a bad thing per se.)

On another note, do any of you out there seriously care about Chase and Cameron? At all? Boooooooring. How about hiring another intern. I’m fine with that. Anything to get away from the dour blondes.

The Wife:

Wednesday nights are rough enough with Lost alone and are especially rough now that there’s Idol, ANTM and Make Me a Supermodel. It’s a reality show power block, and when faced with models making fools of themselves and wannabe popstars, it’s really difficult to make the decision to watch a procedural. I love Criminal Minds, but it’s just been getting backlogged on my DVR, so with due respect to other fans and to those involved on the show, here’s a catch up on the last four episodes or so.

4.13: “Bloodline”

In Bloodline, the BAU team investigates kidnappings of young blonde girls and discovers that, over the course of about 100 years, there have been other isolated disappearances. Not only do the kidnappers take the daughters, but murder the parents in their sleep so the girl will have no one to return to. The team ties these kidnappings and murders to a Romani (gypsy) family trying to find a wife for their young son. The mother of the Romani boy was once kidnapped herself, and developed a wicked case of Stockholm syndrome.

Overall, I thought this was a pretty cool episode, especially the twist with the boy’s mother and the extra twist at the end as she whispers to her son in Romani: “Don’t tell them about your brothers.”

4.14: “Cold Comfort”

This episode had a semi-Buffy reunion with a quick guest spot from Nick Brendon and Mercedes McNab (Harmony) as the victim, Brooke Lombardini. A string of missing blonde girls (always blondes as the fetish object on this show) prompts BAU involvement when some of the girls start turning up dead and, even more oddly, embalmed, each with double pierced ears and the same haircut.

As Brooke’s mother, Lolita “Catface” Davidovich gets her missing daughter’s necklace out of evidence and takes it to a psychic who believes he can read a person’s aura if he has contact with something of theirs. Rossi is not cool with this for a variety of reasons, citing the spread of false hope and the potential of conning victim’s families. J.J. is less sure, touched by Davidovich’s desperation to find her daughter, and eventually takes a piece of evidence to the psychic. The psychic her that he sees Brooke near a rocky shoreline, which makes J.J. think that their unsub has taken the girls to his parent’s home on Mercer Island. Only Mercer Island doesn’t match with any of the other evidence, including wire transfers from the unsub’s father to support his income for the four years he’s been killing, living off his trust fund and off the map.

A former medical student, the unsub was raised by an au pair from Denmark, a petite blonde named Abby with a bob and double pierced ears, who suddenly died one day when his parents were on vacation. For three days, he stayed curled up next to Abby’s body and has been trying to recreate her ever since. He kidnapped girls and held them until they admitted they were Abby, and then he killed them, dressed them up as her and raped their corpses.

The team catches him just in time in a warehouse, with Rossi boldly proclaiming that he was as far from Mercer Island as he could get . . . until Hotch takes a tarp off the window and reveals a painted mural of a lighthouse on a rocky shoreline.

J.J. apologizes to Rossi for bringing in the physic and potentially leading them down the wrong path. As a new mother, all she could see was a mother losing her child and she wouldn’t wish that on anyone. Rossi tells her that those feelings are valid and that believing in psychics is fine, as long as J.J. always remembers that she should believe foremost in what they do at the BAU.

Thats my son with Abby. I always knew he harbored a weird oedipal crush on her.

That's my son with Abby. I always knew he harbored a weird oedipal crush on her.

Cybill Shepard was also in this episode as the unsub’s mother, basically playing her character on The L Word as a powerful woman who constantly belittles her husband. (This character, too, was probably going to have an affair with Alice Piezecki and leave him.) It was a guest star-a-palooza, and a decent episode with a nice tension between faith and fact.

4.15: “Zoe’s Reprise”

In the Cleveland leg of his book tour, Rossi meets a young criminology student who tells him she believes there’s a serial killer in Cleveland due to the increased homicide rate. When she tells Rossi of the facts of the case, he says that he currently doesn’t see any serial involvement (as each murder location and type and victimology are wildly different), but tells Zoe to continue her studies, contact him for any career advice she might need and tells her to never stop until she’s got the answers she’s looking for.

When Zoe turns up dead at one of the previous crime scenes, Rossi blames himself, believing she never would have gone investigating if he hadn’t encouraged her to be so intrepid. Her mother doesn’t want anything to do with Rossi, and is incensed when she finds out that a guilty Rossi decided to take care of the funeral.

As for the serial killer, it took Zoe’s murder for people to realize that she was correct the whole time. He started as a copycat killer, unsure of his style, which is why all the murders prior to Zoe’s were so different. He killed first as Cleveland’s own Butcher of Kingsbury Park (who picked up dudes at gay clubs, killed them and left their bodies in the park), as the Son of Sam (shooting couples in cars), as BTK and even as Jack the Ripper, until, with Zoe, he finally found his signature: strangulation, sealed with a tender kiss to the forehead, wiped away with alcohol. The team doesn’t discover the bit about the kiss until two victims after Zoe, and Rossi has to ask Zoe’s mother to return her body to the morgue so they can examine her forehead and see if there’s a kiss. Zoe’s kiss wasn’t wiped away with alcohol, so from her body they are able to get the name of her killer and track him down.

They catch him in what they believe is an act of murder, only to find out he was just trying to have sex in public with his girlfriend – something he does often because it’s the only way he can get off. With him and the girlfriend in custody, Prentiss discovers that he took Linda to every single one of his crime scenes to have sex. The unsub tells Rossi that there are more bodies, which Reid is easily able to locate by comparing the sex list to the framed images on the unsub’s wall. It wasn’t enough for him to simply visit the crime scenes. He had to look at them every day in order to relive the experience.

Also a fan of Rossi’s work, the unsub tells him that he hopes Rossi can write a chapter on him in one of his books someday. Still guilt-ridden, Rossi returns to lay flowers on Zoe’s grave and runs into her mother, who asks if Zoe’s killer was captured and jailed. Rossi assures her that he is, and she tells Rossi that Zoe would be proud of that fact. Rossi goes on to cancel his book tour, and J.J. tells him that he was the reason she joined the BAU. Fresh out of Georgetown, she didn’t know what she wanted to do, but after hearing him speak, she applied to the FBI.

I enjoyed the sentimentality of this episode, as Rossi can sometimes play a little too gruff, but the murders themselves were no big mystery. The minute I saw them, I called copycat. (Thanks to my husband for showing me the film of the same name a couple months ago.) For people who study serial killers, it was most surprising to see the BAU team try to argue other methods of explanation such as escalation of violence or escalation of intimacy to explain the differences between the crimes, rather than seeing the obvious that, at the very least, the murdered couple shot to death in their car looked like Son of Sam and the strangled prostitute looked like Jack the Ripper.

4.16: “Pleasure Is My Business”

In this episode about a high-class call girl who kills her wealthy clients, I learned a couple of valuable pieces of information.

  1. Should I ever want to become a Madame, real estate makes a good cover with flexible hours.
  2. FinderSpyder has become the fiction search-engine du jour, officially outliving the last show it appeared on, Journeyman, in which I thought it was supposed to be LexisNexis. (If it is intended to be LexisNexis, the killer hooker in question has a background in journalism, time traveling, or time traveling journalism.)

(Husband Note: I too started to notice the widespread use of the fictional Finder-Spyder, a mixture of LexisNexis and Google, last television season when it showed up not only on Journeyman, but also on Moonlight. Now I see that there’s a Wikipedia page detailing its appearances, including two I should have already caught (on Prison Break and the guilty pleasure Hidden Palms). The link is here.)
When wealthy Dallas businessmen with a $10K hooker habit start turning up dead, the Dallas cops call in only Hotch, hoping to keep this as under wraps as possible. Hotch requests his team when it appears that there is a single serial killing prostitute, but he has to fight with the corporate lawyers working to cover these murders up as natural deaths for the entirety of the investigation.

The call girl, Megan, kills men who walked out on their families only because her father abandoned her family for a pro. For a female serial killer, the goal is only to kill, never to find some kind of sexual release. She contacts Hotchner when she hears from a client that the FBI plans to cooperate with the corporate lawyers to cover the whole thing up, desperately pleading with him to expose these men, and that she hoped he’d come and catch her because the men she killed were bad men who needed to be punished for leaving their families. She eventually lures her own father to come to her, and he tries to get her to give over her client list so that none of the men he works with will be exposed when she’s arrested. She hands over her Blackberry, but removes the SIM card. By the time Hotcher arrives, she’s poisoned herself, but as she waits to die, she hands the SIM card to him, telling him to stay with her until she succumbs to death.

Of these four episodes (and clearly, I watched “Bloodline” long before I watched the others, given how little I was able to say about it), “Pleasure Is My Business” was probably my least favorite. It tried to be one of the episodes that gives a good psychological portrait of the killer, but it mostly seemed to toss out information about the nature of high-class sex work. I find that information valuable, but I found the characterization of this killer weak. Glad to see a female serial killer, of course, as they’re unusual in the world and the world of this show, but there have been better storylines involving women. Any storyline, for instance, involving a mother who murders or kidnaps children is instantly more harrowing than a prostitute murdering her johns to teach them a lesson. There can be a nice reversal of power in that kind of story, as there is in Monster, but it just wasn’t here.

I’ll try to do these bad boys two at a time in the future, because writing up four is really daunting.

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