Our mouths have watered over the luscious mid-century architecture, costumes, hair and cinematography throughout the series, but the mastery of the period settings have never used to better effect than in this satisfying finale. Hodel's home should be open to the public, like the Gaudi Museum in Barcelona, if it truly looks anything like what we're shown in both the interior and exterior - as a national treasure. Even the omnipresent backdrop of racist oppression reaches a climax, albeit in the background and not distracting from the main plot, rather adding to the richness and dimension of the painting that is this production, with a few satisfying blows thrown in return. If there was no plot at all, this would be a sheer pleasure to watch.
Until now, Fauna/Pat has been slow to accept the truth about anything in her own history, defiant and independent, yet weak and in need of protector. But as she is (somewhat predictably, yet visually classic noir recreated) betrayed and put in the greatest danger of all, the daughter of the bull roars and transforms, in a shocking show of self-awareness and agency. No longer the damsel in distress, but now a source of inspiration to some, and fear to others.
The suspense builds slowly, so artfully, there is a horror movie feel to it, but what horror film has ever been so aesthetically pleasing in every way, so well written, well acted, well directed, well produced? There is never a moment in which you wonder why the idiot kids split up or the protagonist does something so inane that it ruins everything - no, this is not your tv dinner horror, but the gourmet feast you never dreamed would really come. The conclusion is neither pat (forgive the pun), nor 'boring' nor 'kitsch' but subtly hopeful, like a Pulitzer-Prize winning novel. So satisfying, you greedily want more.
