richiehodev Reviews

A Small Light: Scheißfeld (2023) Season 1, Episode 5

Seeing the world as Miep Gies through Bel Powley's eyes

[10/10 · 28 August 2023]

Episode 4 and 5 have solidly entrenched this series as a masterclass in storytelling in my eyes. Both episodes juxtaposes the lives of the attic dwellers to that of Miep to illustrate themes of family, friendship, innocence, and love.

In Episode 4, we see Miep yearning for a chance for some jovial fun at a party as a way to forget about her current situation. But seeing how the war has irrevocably changed her life and those that she know, she finds comfort and protection in the humble family gathering on Hanukkah in the Opekta attic. In this moment, we realize that Miep needs the Franks as much as they need her: they are her north star in the dark to remind herself of her sense of humanity.

In Episode 5, the trivial and comedic retelling of Anne's teenage love is starkly juxtaposed against Miep and Jan maintaining their love for each other while facing constant danger on the outside. As viewers, we are reminded of the humanity of those that were in hiding, and that there were those on the outside who were fighting just as hard to help preserve them. Miep and Jan standing in a field of tulips (which earlier in the episode was a field of manure - also literally the name of the episode) is breathtakingly symbolic.

In both episodes, we see Miep and Jan keeping to maintain their innocence, their morality, then humanity against the changing world. They draw on each other for strength and look to the Franks to help them find themselves. It is in the attic where innocence, morality, and humanity are preserved.

If there were no dialogue in this series, we'd still get all that we need to know from Bel Powley's expressive eyes. They harden with anger, widen in fear, roll in exasperation, and weep in sadness. And it is those eyes that help to tell the story of Miep. Whatever awards there are, give it all to Bel Powley.

Queen of the South: El Zorro en la Gallinera (2021) Season 5, Episode 7

This has been the best episode of the entire series

[10/10 · 14 August 2023]

It's taken a long way but Alice Braga has finally broken through in her performance. We're seeing a Teresa Mendoza that is now fully "breaking bad" and becoming the person that she's sworn to never become. The transformation is breathtaking, and it's all the more even heartbreaking, as we the audience not only get to witness the gradual decline first hand, but we also get to see how those around her is abundantly aware of her fall from grace.

The most striking scene for me was present day Teresa seeing the old Teresa advising her to leave it all behind. Up to this point, we've been shown many times of a striving Teresa seeing a future Teresa (clad in white) guiding her toward her ascent. But never would we have thought that future Teresa would have problems of her own and would also be in need of counsel from her former self. This is a beautiful coming-full-circle moment in terms of character development and that is why this has been the best episode of the entire series.

Queen of the South: Plata o Plomo (2021) Season 5, Episode 6

Breaking Bad-esque execution

[9/10 · 14 August 2023]

There was some real Breaking Bad vibes with the set-up and storytelling in this episode. We knew something ominous was afoot, with George's making future arrangements with Teresa for their new boat and Boaz's strange deferential behaviors, but the final climax still hit like a truck.

We also get to see Teresa finally have her "breaking bad" moment and giving in to become the person that she's sworn to never become.

Major kudos to the writers on setting up the story to this point and letting each characters breathe. This season has been Queen of the South's finest yet, and we've come a long way from the sepia toned depictions of Mexico and South America.

Queen of the South: Reina de Oros (2018) Season 3, Episode 3

This series shines when...

[8/10 · 2 July 2023]

...it is able to explore the juxtaposition of its characters through the tough choices that they make (or don't make). This episode centers around a thrilling bank robbery and prisoner escape, made all the more impactful because they are circumstances that came about due to Teresa willingly puts herself in a difficult position. When the story is told in this way, where a character's fate is defined by a series of decisions, the build up feels so much more natural and climactic. They are not victims of the writer's room, who sometimes force plot points so that they can serve some greater story arc. The choices of Pote and James matter in this episode as well, as they are now committing themselves to Teresa.

Queen of the South: La Ermitaña (2018) Season 3, Episode 1

The constant pursuit of one high to the next; the stakes couldn't be any lower

[4/10 · 1 July 2023]

Twenty six episodes in, and the stakes could not be any lower. The formula for this series so far is your typical cat and mouse pursuit, securing drug shipments across borders/state lines, being forced to make questionable deals with shady lenders, meeting payments from said shady lenders, taking a few bullets and scratches from a the random odd kerfuffles, rinse and repeat, over and over again.

Every episode, we stray farther and farther away from the appeal and intrigue of the original premise of the show: an underdog story of someone of someone who has nothing to lose and everything to gain. We quickly forget and easily dismiss the motivations behind every character's actions, because they seem to always be set up to perfectly build up the tension and drama of the next episode.

The constant pursuit of chasing one high to the next, devoid of any substance, is very much like the subject matter that this series is solely focused upon.

Your Honor (II) (2020–2023)

"This series did not need a 2nd season" - I was massively wrong 😫

[10/10 · 27 May 2023]

Your Honor was initially a story that was bookended and perfectly wrapped up in Season 1. But the writers expanded on this New Orleans universe and characters so masterfully in this second season that it even exceeded my expectations and assessment of Season 1 (9/10).

There are 3 major plotlines all running parallel along the backdrop from Season 1's fallout, with each one built up steadily but always lending and relating to one another that you never miss out on the bigger picture that the writers are trying to paint. So many other shows get this wrong; where many plotlines are kept disparately separate from each other without offering any reason for why they should earn your interest, only to suddenly converge and quickly fall apart at the very end.

But Your Honor Season 2 keeps the pace with constant tension and momentum, with every scene and every character's dialogue demanding your attention. Must of this is credited to the tremendous supporting cast outside of Bryan Cranston. Most notable are the Jimmy and Gina Baxter characters, the Desire gang characters of Big and Little Mo, and Mayor Charlie Figaro. These characters, although sometimes one dimensional at surface level, are expertly portrayed by their respective actors and actresses. These characters speak and act with conviction, and as viewers, you are never at a loss at to what their motivations are. This is something that lesser shows also fail at. And how can we also not mention the Carmine Conti and Elizabeth characters, portrayed by the venerable Mark Margolis and Carmine Conti.

Whether Your Honor has a season 3 or not, and whether Bryan Cranston's character will return or not, it is clear from Season 2 that this universe and story has earned the right to be continued and live on past its Season 1's central plotline. Major kudos to Peter Moffat and the writing team.

The Last of Us: Endure and Survive (2023) Season 1, Episode 5

In a poignant and touching episode, Melanie Lynskey's miscasting is distracting and unnecessary

[9/10 · 18 March 2023]

Melanie Lynskey's character, Kathleen, serves as the impetus behind this episodes and how our protagonists meet up Henry and Sam. However, as the de factor leader of a rebel group, nothing that she says is convincing or stirring. Like every character that we've met in the story so far, hers is filled with grief and pain, which drives her motivation to get vengeance. But the merciless toughness and unflinching resolution that her character is supposed to portray comes across as whiny and sniveling from Melanie Lynskey. The centerpiece of the episode centers around the brotherly love and selfless sacrifice of the 2 brothers, but there was still something to be had if there was enough juxtaposition with an antagonist that was equally in pain and was hellbent on seeking vengeance for her own brotherly love. But Melanie Lynskey's performance was flat and lifeless, and only distracted from the Joel's and Ellie's story. Her ending, like the character, was one to forget.

The Last of Us: When You're Lost in the Darkness (2023) Season 1, Episode 1

Remove the video game branding, and you have a mediocre zombie thriller in the mold of TWD

[7/10 · 12 March 2023]

I understand that this series was created and faithfully adapted with many video gamers in mind. And I understand that the writers and creators probably made some good effort to adapt the story in a way that would have greater appeal to a wider audience.

But the 2023 opening sequences and the way that the storylines unfolded seemed haphazard and lacking a lot of context. We know that it has been 20 years since the outbreak, and that Joel is now with his brother after losing his daughter. But we see government forces enforcing law in a lockdown zone, and some kind of resistance group scheming up some kind of plan, all without much context or details. People are speaking and acting with urgency, but the drama and action hasn't been earned yet. We also see Veronica/Ellie being locked up by some group, whose motivations still seemed murky even by episode's end. Joel wants to acquire a car battery of some sorts to go on some rescue mission to find his brother Tommy, but what Tommy has been up to, or how he ended up being missing is also still murky by episode's end. This is not to mention the names FEDRA and Fireflies being thrown around without any effort by the script to duly explain what they are.

I must admit that these are issues that gradually gets address in the 2nd episode, as there are more intimate moments where we see things the eyes of Joel and Ellie, and the writers taking advantage of these moments to give more context to the world around these characters as part of character development.

IMO, without the video game branding, and call this series any but TLoU, we have a series that's markedly better than the TWD, but still lacks the expert storytelling and emotional impact that you need to make a story like this shine, like Cormac McCmarthy's The Road.

Echo 3: Heat (2023) Season 1, Episode 10

This last episode and last 15 minutes has redeemed this entire series

[10/10 · 5 March 2023]

This last episode and last 15 minutes in particular has redeemed this entire series for me.

Firstly, the cinematography of the series is picturesque and breathtaking - and this story would be nothing without it. The market chase scene in this episode, in particular, is incredibly well executed. Instead of using loud and distracting backing music, we hear and see the day to day chatter and activities of the market - the street vendors, market goers - as the military is in pursuit of the protagonists.

Now, I want to talk about how the story ended. The people who are complaining about Amber being ungrateful, or the brothers being incompetent, or how there wasn't a happy ending, I think you clearly have missed the point.

There are plenty of movies and TV shows about American commandos doing a rescue mission in a 3rd world country, and leaving a blaze of fire in their wake, with little regard for the politics or civilians of those countries. They accomplish their mission and teach the bad guys a lesson to not mess with the Americans ever again. Those tropes are a dime a dozen, so why would you want another story like that?

The significance of the ending lies in what Prince said to Amber at the end, where this is the first mission where he gets to do something "right instead of righteous", where he gets to "save the person he loves the most in the world, instead of just God and country". But the brutality and reality of war has irreparably changed Amber and those around her. And like all other wars, there is no happy ending. Even when presented with a victory, there are always stark reminders of the price that it cost to achieve that victory. And that price lies in Amber. She bears the guilt of bringing death and destruction to those in the Venezuelan compound as part of her rescue. And for as long as she lives, she will have to bear that weight. And for as long as she stays with Prince, she will have to be reminded of that fact. That is why there is no happy ending. Because this is a war story, and more importantly, because this is life.

I can't believe I am defending this series, after 9 episodes of seemingly meandering and aimless plot, but it's clear that the writers saved all their bullets for this last episode - and they perfectly stuck the landing. Impactful, stirring, and original.

Echo 3: Upriver (2022) Season 1, Episode 4

Maybe ChatGPT could have done a better job at writing this dialogue

[5/10 · 25 February 2023]

"Maybe family is just some sentimental construct to justify some heartless animal kingdom crap"

"Maybe real love doesn't exist at all, but I want you to remember, I taught you how to wipe your own ass."

"Cynicism is a refuge for the young and the childless."

"You're so handsome, but so sensitive"

"Man: Let's sleep together.

Woman: I should make you a hamburger."

These are just some of the absolutely inane and appalling dialogue taken from this episode. For a drama that is rooted in familial ties and human connection, the words that are coming out of these characters' mouth are beyond nonsensical. The wooden acting from male leads doesn't help to impart any legitimacy onto their characters either. Conversations are already short and brief in this series, but you must wonder whether these characters should be speaking at all.

The Cleaning Lady: Coming Home Again (2022) Season 1, Episode 9

TCL finaly rises above the trite soap opera tropes

[9/10 · 29 January 2023]

It's clear that up to this point, the writing for TCL relies on a lot of the soap opera tropes that network television is known for for easy viewership: gang violence, gun and drug trade, rogue cops enacting their own brand of justice, melodrama, contrived relationships and love triangle. It's standard par for the course for this genre.

But if there was any saving grace for TLC, it's that it has a particularly unique story to tell about immigrants and their struggles to pursue the American dream. This theme has been the focal point for the main character and the basis for her current dilemma. But finally in this episode, we get to see for the first time the writers acknowledging this theme heads on; and they absolutely stuck the landing. That Thony, an undocumented immigrant, is stuck in the same holding cell as her FBI agent, with the American flag hung in the background is a powerful image of the inequities that the show tries to explore. Their discourse on what makes a person good or bad, while contrived, also adds some weight in making this episode poignant.

If this is what the writers set out to do, then this is the best episode of Season 1.

Five Days at Memorial (2022)

Compelling docudrama in the mold of Chernobyl

[9/10 · 16 January 2023]

Those who are displeased that there wasn't a more "satisfying" or more "happy" ending must have missed the whole point completely after 8 episodes. The argument being brought to light here is that there a perfect "storm" of natural disaster, lack of protocols and procedure, combined with governmental ineptitude, made for a situation that spiraled abruptly out of control. Those who were at the forefront, the doctors, nurses, and staff at Memorial, maintained that they were forced to make extremely difficult life changing/ending decisions out of dignity and respect for their patients. Those who are given the comfort and luxury of analyzing these events after the fact - prosecutors, investigators, and family members - cannot fathom the sort of conditions that would force trained medical experts to make such drastic actions on their patients. And just as culpable in the aftermath is the leadership that was devoid at the local, state, and federal level - which the show's creators and producers went to great length to illustrate through a combination of historical news artifacts and recreated live action shots.

That is what made FDaM such a compelling and rivetting watch. Put yourself in the shoes of either Anna Pou or the victim's surviving family members, and you would have a case for both. There is no "satisfying" or "happy" ending because this story was neither "satisfying" or "happy". Those who couldn't get past this in their reviews should probably retreat back to other shows that promises them such endings without the toll of mental exertion.

Time: Episode #1.3 (2021) Season 1, Episode 3

I can't forgive you but I promise that I'll keep on trying

[9/10 · 7 January 2023]

Sean Bean and Stephen Graham takes this Jimmy McGovern series to exceptional heights with their impeccable and nuanced performances It's a common day story that explores the depth of grief, atonement, and making sacrifices. Both men are masterful in their portrayal of two characters who must deal with extremely challenging circumstances. McGovern offers a thought provoking and compelling view into the prison system, as inmates and guards alike are subjugated under its cruel and merciless justice.

Tender in its tone and introspective in its storytelling, the closing scene is a powerful reminder of the prolonged guilt and torment that inmates must carry with them even when they are released from the system. There is no happy ending to be found, and those who did time will continue to do time.

The most powerful scene of the episode is the last one, where Mark is sitting with the victim's family member. It breaks your heart to see what he has written in his letter to them; despite Mark being a teacher, his crimes has reduced him down so low that he literally cannot come up with the words to justify his actions.

He simply wrote: "I just want to say sorry sorry sorry sorry sorry sorry sorry sorry sorry"

In episode 2, he even said that can't even forgive himself. So if he can't, then how can anyone else?

"I can't forgive you but I promise that I'll keep on trying."

Shantaram (2022)

The most impactful TV series I watched in 2022 and will personally bankroll a second season

[10/10 · 1 January 2023]

The story and message of Shantaram is unique and enduring, its characters complex and unforgettable, and its 1980 Bombay settings alluring and immersive.

The novel has become a modern literary classic, and hearing the actors speak with so much reverence for it exalts its story to a new level. The series is a passion project for Charlie Hunnam especially, as he led the effort to rescue it from development hell for over a decade. He spoke about doing right by the story, and to Lin specifically. Charlie Hunnam was born for this role; he's been attracted to the script for many years and felt that he had a good understanding of the kind of character that Lin was. He so perfectly portrays the internal struggle that Lin goes through to wrestle with choices that he has to make.

To the reviewers/critics/pundits who dismiss this series of using the overplayed white savior trope or overdoing Lin's good guy routine, perhaps they have missed out or forgotten the central crux of the story. Lin is a convict on the run from the law, equally haunted with what he's done in the past and uncertain with the kind of person who wants to be. It isn't that he doesn't want to leave Bombay, remember that over the course of the 12 episodes, Lin had numerous opportunities to leave. But he felt compelled to stay behind. Partly because he felt a strong connection to the people he's met, but also because he felt like he owed them and needed atonement. The people of Sagar Wada slum needed Lin just as much as he needed them; even if on a selfish level, to prove to himself that he could live up to the standards that others have envisioned for him.

But it isn't just Lin's story that was impressionable. Similarly so were the stories of the locals and expats living and working around him, all so perfectly casted with Shubham Sarah, Antonia Desplat, Alexander Siddig, et al. They play their parts with so much gravitas and conviction; as you can also in them the desire to do right by the novel's content.

Bombay, depicted in 1980s sepia tone, shines in all its glory; even if the production shoot wasn't exactly on location. The $100 million dollar budget is justified through the incredible looking set design, from the slums of Sagar Wada to the busy bustling streets around Reynaldo's Cafe.

Shantaram, the first season, is profound, tender, entrancing, and enduring. The story's themes of self identity, the burden of choice, the meaning of life, etc, are on full display over the course of the 12 episodes. What I would give to spend just one more episode or series with these characters.

I had a deep sense of impending bereavement watching the conclusion of season one knowing that the series has not been picked up by AppleTV; but I will hold steadfast to the hope that the enduring love for the story by cast and crew will allow it to come back again in a later time, on a different platform. Inshallah, as Khaderbai would say.

Shantaram: Should I Stay or Should I Go (2022) Season 1, Episode 9

The stage has been set

[10/10 · 31 December 2022]

The intrigue and wonder of Shantaram is its ability to relate to the viewers what the main character, Lin, is experiencing, as he is seeing and feeling everything for the first time in 1980s Bombay. Throughout each episode, we get a glimpse what Lin is thinking at that moment in time, as well as what Lin is foreshadowing towards as he reflects back on his lived experience.

In the first episode, it was warned that there would be "ripples" that would "spread out into the future, touching everyone, friends and enemies, changing everyone's lives forever." We finally see this come into fruition in this episode, as the vibrant world around Lin changing rapidly and its characters behaving in response. We find ourselves rooting for Lin more than ever, as he is swept into a world of chaos and corruption.

Every character and their involvement in this Shantaram world can be traced back to Lin. The subplots and side stories matter, because we now fully realize how much each character stands to lose. It is easy to be lost and immersed within the Shantaram world, and I don't look forward to coming out of it.

Shantaram: Down and Out (2022) Season 1, Episode 2

Roles of a lifetime for Charlie Hunnam and Shubham Saraf

[9/10 · 25 December 2022]

This rich story filled with intrigue, wonder, and redemption was meant only for Charlie Hunnam. He is captivating whenever he is on screen, playing a lost and vulnerable Lin, in a classic fish out of water story. He is unsure of the person he wants to be, but knows that the person he is right now is not the person he should be.

And there to help him find his way is Prahbu, played by Shubham Saraf. Shubham is charismatic and personable in his speech, demeanor, and mannerisms; sometimes even overtaking Charlie in charm whenever the two appear together. It would be a great injustice if Shubham doesn't deserve any recognition for this role.

The setting of 1980 Bombay India is itself a main character; a world that is living and breathing with all kinds of rich cultural sights and sounds. Production set up and costume design are meticulous, leaving you no choice but to be lost in this world, just as Lin is navigating through it for the very first time.

The story is slowly developing, but Shantaram has more going for it than other stories that are lucky enough to be renewed for many seasons.

The Terror: Into the Afterlife (2019) Season 2, Episode 10

Strayed too far from what makes this series unique

[7/10 · 24 December 2022]

The Terror S1 shone when allowed its characters to live and breath within the unique historical confines of their environment. The series made its mark in exploring the depths of humanity as it tries to navigate through grief, anger, desperation, betrayal, loneliness; all the while yearning to survive at all costs.

The titular "terror" itself shouldn't be mistaken for something in physical form, but is represented through the unknown and the unseen. It is this unspoken terror that thematically defines this series.

By now, viewers have come to understand and expect all of these things. But it didn't seem like the writers for S2 fully understood the assignment. S2 leaned too heavily into the folklore and mythology of the yurei/bakemono. It seems absurd to think about, but after having finished 10 episodes, it felt like the central backdrop of the Japanese internment camp was used as a bait and switch in order to promote the Yuko storyline. Because truth be told, the Yuko storyline could have been told from any time period/era/backdrop. It didn't need the WW2 Japanese internment camp. But then it wouldn't be "The Terror".

In the end, we have a S2 that looks like and feels like a classic "The Terror" season, but doesn't have enough substance to be one. The story was compelling and engaging whenever we get to see the Nakayama family endure through the WW2 hardships; but instantly lost its charm whenever the Yuko storyline appeared on screen. It's a shame because these are characters that you end up rooting and caring for; but it just felt like their story and struggles took a backseat to a cheap and cheesy J-Horror story that you can find elsewhere.

Nevertheless, thank you to the cast, crew, and creators for putting a unique spin on a very important time period in American history.

The Tunnel: Episode #2.7 (2016) Season 2, Episode 7

This writing is no longer redeemable

[5/10 · 26 November 2022]

"You have a compartment on this train right? You wanna go and **ck? I like **cking on trains. These European ones are like cattle markets."

That this line was uttered from the mouth of a terribly casted villain with a fake European accent is even more cringe-worthy. For all the adequately watchable scenes with Dillane's and Poesy's characters, there are scenes and lines like the above that make The Tunnel S2 an appalling and bewildering watching experience.

I want to pull for this series so much and root for Roeback and Wassermann, but the more that I immerse in their world, the quicker that I want to escape from it.

This episode contains the first clever usage of the English/French border outside of the gimmick storyline from Season 1. We see a witness/informant being raced across the border in order to escape the jurisdiction of one country and enter the custody of another.

The Tunnel (2013–2018)

From The Makers of Broadchurch...Really?

[6/10 · 25 November 2022]

Broadchurch was exceptionally unique in its ability to weave interpersonal storylines into a main plotline that made viewers felt invested in the story progression and and development of each character. Characters were aplenty, but each had a clearly defined "reason for being" and motives - even if it took the show many episodes for the unveiling. And the grand unveiling itself provided all the answers, giving viewers a fully zoomed out panorama of how and why the story has gotten to this point.

All of these things, The Tunnel is not. Plot points and characters that interweave throughout these plot points come and go, with their relevance to the main story flimsy and fleeting. Storylines and motives are convoluted and contrived, all masquerading under some grandiose, top secret international government conspiracy or investigation. I loved that our 2 protagonist detectives have real chemistry like in Broadchurch, and that their personal lives give their characters nuance, but the performance of Dillane and Poesy cannot overcome the shortcomings in the writing.

Throughout the arc of each season, both these characters carry a heavy amount of personal grief and challenges, but rarely do we see them feel buckled under this heavy weight. With the stories that were written, we're not given any chances to see these characters show any true anger, or kindness, or sympathy outside of their home life. As soon as the scenes switch to the investigative aspect of the show, things come to a stilted and boring lull - and it may as well be any other odd actors playing the role of Roebuck and Wasserman.

The writers had a great pair of characters to work with, and unlike Broadchurch, they laid them out to waste.

The Tunnel: Episode #2.6 (2016) Season 2, Episode 6

Convoluted and contrived; I couldn't tell you what is going on in this plotline

[4/10 · 25 November 2022]

Six of eight episodes in for this series, and I couldn't tell you how this plotline and characters fit together. With each episode, viewers are seemingly treated to the unveiling of one antagonist after another, all exhibiting grandiose plans of being an evil mastermind and saying nefariously cheesy things like "this is just the beginning" or "you'll never going to catch me". But it seems like the writers never took a step back to think through what their motives are for doing what they do. It's worse when there are numerous of these baddies, all seemingly doing things in concert with each other, and all seemingly must have their own reasons for them to be part of the bigger crime, but you would be hard pressed to figure out who these people are beyond just characters who come and go on the screen.

Instead, the writers spend time to do a lot of grandstanding to inject a whole mishmash of topics such as anarchy, Neo-Nazism, race relations, all of which by this point amount to a whole bunch of convolution and contrivances. There just isn't any coherence to this story whatsoever.

The only time where I am "holding on to my seat" is bracing myself to make it through any scene that doesn't have Stephen Dillane in it. At this point, I'm not sure I can make it to the end of S2, much less start on S3.

Truly and utterly disappointed.

The Tunnel: Episode #2.3 (2016) Season 2, Episode 3

Painfully hard to follow along

[6/10 · 24 November 2022]

It's clear by now that S2 of the Tunnel follows the same formula of S1: threading together seemingly unrelated storylines and characters to eventually converge into a grand reveal. As also like S1, the build up to the unveiling of the bigger story requires a lot of patience and attention. But even with patience and attention, this episode proves that those things are not enough for you to be fully invested in what's going on. We see and hear our main protagonist detectives discuss topics such as the Black Panther, Colonia Dignidad, Josef Mengele - all very esoteric topics to most viewers. But the writers make little time to bring viewers along and educate them on what the significance of these things to the investigation. Meaning is already lost between the quick French/English banter, and now no context is given regarding these topics.

The only things that I found familiar and comforting that was able to bind the story together were the home lives of Wasserman and Roebuck. I think this series and this season would be unsalvagable without Stephane Dillane's character.

The Tunnel: Episode #1.10 (2013) Season 1, Episode 10

The ending missed its mark, only because S1 has veered off course

[6/10 · 20 November 2022]

After the first 7 or so episodes of storytelling and events that tested viewers patience, episodes 8 and 9 finally showed why it matters and why the audience should care. The crimes and antagonist trace back to our protagonist in a deeply personal way, and now there was suddenly skin in the game. Even with the very non-sensical Fabien Vincent sideplot that only raised more confusion, there was yet still hope for a fulfilling and redeeming ending in episode 10. And redeeming, it was not.

We know the history between Kieran and Karl, and with all of the Peloton subplot with the human trafficking and covert operations with geopolotical implications - viewers are left wondering how did they arrive here here in Episode 10? The writers had 10 episodes to bring it all full circle to try and justify these random acts of crime back to the Kieran's main motive, but yet by the end of Episode 10, we are left with a very uneventful and unsatisfying end. The intrigue around S1 is a body split in half across the UK/France border right? Why did that matter in the end? What did all the crimes in between have to do with a madman trying to get revenge on his former colleague?

In the end, even when the stakes got personal and when viewers could feel for the first time that they could be invested in this story, the resolutions fails to deliver with any kind of meaningful emotional or redeeming impact, for both the viewers and our 2 main protagonists.

The Tunnel: Episode #1.6 (2013) Season 1, Episode 6

Unclimactic resolution to a contrived side story

[7/10 · 13 November 2022]

Up to this point, there has been several parallel plots to the main storyline. Social worker Stephen Beaumont is shown to have shady intentions with the people he helps, with a sister who is a poisoned victim of the TT. And that is where his involvement in the story ends, and it goes down to a whimper in this episode. The writers gave this plot far too much attention for it to have meaning, and our main protagonists couldn't care less when he was finally eliminated from their suspect list.

Show the viewers why characters and side plots matter, otherwise don't show them at all, if all you're doing is filling up 10 episodes with an overly complicated storyline.

The other side plot that was much more redeemable was in this episode, with the father and son duo who is put into a tough predicament with their other son's killer.

The Tunnel: Episode #1.5 (2013) Season 1, Episode 5

These parallel plotlines need better execution

[6/10 · 13 November 2022]

A typical plotline starts off with a group of main characters with a common problem, then builds upon by diverging out from that central story. We are gradually introduced to related characters and problems that are still connected to the main storyline. It's a straightforward but effective formula for develop a story that engages with the audience.

However in the Tunnel, we start off with multiple parallel plotlines. We know of the central one with our 2 main protagonists and the Truth Terrorist. However, the 3 or 4 other plotlines that run parallel to this are executed in what feels haphazard and disjointed. Already frustrating and weary enough from a central plotline that is getting convoluted, viewers are subjected to these plotlines that are presented in a way that intentionally obscures their relevance to the story, and makes viewers question: "Wait a minute now, who are these people, and why are they showing up right now?" Once their stories are unraveled and these plotlinse converges back to the main one, this when we have to backtrack and recall why their relevance matters.

As said above, halfway through the series, and I'm finding myself weary and frustrated with the kind storytelling strategy that the writers have chosen to use.

The Tunnel: Episode #1.1 (2013) Season 1, Episode 1

Lacking the reasons why we should care for the secondary characters

[6/10 · 11 November 2022]

Within the first 5 minutes, the Tunnel quickly introduces us to the main premise behind the namesake of the series. We have a murder investigation, with which 2 detectives from 2 different countries must now work together to solve. Typical cliched character building ensues of 2 vastly different personalities who are constantly at odds with each other.

However, the most uninspiring element of this 1st episode is how viewers are also introduced to a whole other cast of characters, most of whom at this point have very little tangential relevance to the murder investigation. A story is told this way because it aims to very meticulously unravel the web that intertwines these characters. However, the way in which these characters act and speak in this 1st episode is dull and uninspiring. They don't inspire viewers to question or wonder; but they're simply just there. Scenes that transition from our 2 main protagonist to these supporting characters were the weakest points in this 1st episode.

Hoping that this story takes off and the writers starts showing their hands soon.