PREACHER Feature: “Sonsabitches” Sets Up Showdowns to Come

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July 3, 2018

Preacher Feature is a weekly look into the AMC show Preacher based on the comic book of the same name by Garth Ennis and Steve Dillon. In this column, Josh Versalle gives a breakdown of the events from the show, including how they relate to the comics, and speculates as to what’s going on and what might be coming up. This is to say that standard SPOILER rules apply.

Need to catch up on last week’s action? Look no further.

“It’d be real bad if you missed a payment”

“Sonsabitches” kicks off with a flashback to young Jesse Custer ( played by Will Kindrachuk), collector of souls. Marie had her grandson out selling spells (in this case to Hal, a perverted and ambitious school teacher, who wants to cover up an affair he had with a student). She has spells to fix everything, but the price is steep. When Hal falls behind on payments he gets his ass kicked, then gets hooked up to “the machine” mentioned last episode, and eventually ends up in the Tombs (more on that later). The machine in question is a soul extractor, like the one Jesse used in season two. It turns out swamp consommé isn’t the only thing Miss Marie uses to keep her skin looking so young.

Tulip is still struggling to recover from her death at the hands of the Grail’s Featherstone (Julie Ann Emery) and to remember what happened after that. She wants revenge on that “mom-haired lyin’ bitch” and nearly gets a chance when she finds Featherstone stalking her in Angelville’s backyard.

Tensions are escalating between Jesse and Cassidy. Cass wants to go after the Grail immediately, but Jesse is reluctant, since Starr still holds a piece of Jesse’s soul and with it Genesis, the source of Jesse’s power to control people with his words.

When Tulip and Jody capture Featherstone and Hoover, Hoover (with help from Jesse) escapes and Jesse lets Featherstone follow, so that they can deliver a message to Starr: Jesse wants to meet and he wants his soul back.

Jesse has Tulip and Cass start a battle with the Boyds (a rival clan of mystics) so that he can sneak away and parlay with Starr. The Boyds hate Jesse, but the reasons are unclear (murder or sex, depending on who you ask). The two sides exchange gunfire (and one cannon-launched goat) and Cassidy takes a bullet in the chest.

“That predictable spasm of juvenalia”

Starr pulls the old switcheroo, giving Jesse a placebo instead of his actual soul. Jesse finds this out when he tries to use the Word of God to command Starr to eat his own dick. When the Word fails, Starr leads Jesse to the driveway, where the real soul awaits in the hands of the Grail. Tulip, seeing the empty soul vial and remembering God’s command to “get those sonsabitches”, opens fire on the Grail, who retreat before the exchange can be made.

The episode closes on Jesse in the underground Tombs, a storage place for those unfortunate folks who owe their souls to Marie (including a godforsaken Hal, missing an eye and chained by the neck). Tulip clutches Starr’s business card, thinking that making a deal with the Grail may be the only way she can fix things.

“Last chance, hippie.”

One trademark of the show is the creative use of classic songs and “Sonsabitches” is no exception. Director Michael Slovis uses the hippie anthem “Get Together” by the Youngbloods to lend an ironic soundtrack to a violent clash between the Grail and a group of Krishnas. The result is a clever and visually impressive sequence, albeit one that seems only tangentially related to the overall plot.

One hesitates to use words like ‘tender’ in regards to a cold-blooded killer like Jody, but there are moments (the proud look he gives Jesse after beating up Hal, the shared interest in firearms with Tulip) that are touching. We all tend to latch onto anything that resembles family, and Jeremy Childs imbues the role with flashes of a certain humanity (in between horrific acts of violence, of course). Writer Sara Goodman utilizes these types of unstable relationships to powerful effect.

Whether trading punches or insults, it’s a joy to watch Tulip and Featherstone’s back-and-forth. Behind Tulip’s anger is the sting of betrayal and the self-reproach that comes from knowing that Featherstone wouldn’t have been in the position to hurt her so badly if she hadn’t let her get close enough.

Likewise, Colin Cunningham brings a charming quality to TC in the episode and watching him and Cassidy bonding (“You like drugs?”) is a lot of fun, assuming you can get past the vile nature of TC’s dreams.

From Panels to Screen:

While most of the episode is an original story, longtime fans will probably recognize the wound Starr suffers in Tulip’s attack as one of a series of disfiguring and humiliating injuries he suffers in the comics. Originally a knife wound inflicted by Jesse, it bears a certain phallic resemblance.

The L’Angelles, the Boyds, Cassidy, or the Grail? Who will strike Jesse first? Let us know in the comments.

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Review: THE FIRST PURGE Purports To Have Political Bite But Lacks Teeth

By

Robert Yaniz Jr.

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The nation is completely divided. Protests are everywhere, and accusations of shady political lobbying are in the air. No, we’re not describing a spot on your 24-hour news network of choice. But it’s specifically this kind of ripped-from-the-headlines aesthetic that The First Purge is clearly going for. After all, its marketing (see the above image) is far from subtle. Sadly, the film — which, despite its title, is the fourth entry in the franchise — only offers the appearance of relevance in place of any real social or political commentary.

A prequel to the previous films, The First Purge chronicles the United States’ first foray into an annual night of lawlessness, wherein all crime (including murder) is legal for 12 hours. This “societal catharsis,” its creators call it, is all set to take place on Staten Island, NY, and the New Founding Fathers of America — a new third political party that has recently assumed power — has a lot riding on its success. Naturally, violence ensues, and we find ourselves following a group of local residents grappling with the decision to participate in the NFFA’s social experiment or simply try to live out the night.

Of course, The Purge franchise has always worn its politics on its sleeve (perhaps never as blatantly as in 2016’s The Purge: Election Year). But the prospect of a full-on origin story for the Purge should have taken that impulse to a whole new extreme. The fact that the film’s cast is populated almost exclusively with people of color — aside from the villains, natch — opens up the possibility that The First Purge might weave something meaningful out of the racist imagery it invokes and even the uber-violence it so willingly espouses. No such luck, we’re afraid. The all-too-real resonance of the film’s subtext is perhaps never fully realized in part because it sits right there on the surface.

And The First Purge just lets it sit there for all to see, never bothering to dig any deeper into it. Instead, we get a collection of cliches posing as characters. Oh, and a particularly obnoxious “villain” in Rotimi Paul’s Skeletor (sadly, not the Masters of the Universe character). At least Y’lan Noel (Insecure) gets to be a bit of an action hero. Especially in a film with such uneven performances, Noel shines as the local drug kingpin who winds up defending his neighborhood. Likewise, Lex Scott Davis (SuperFly) does a capable job as his ex, an anti-Purge activist who ends up trapped on the island with her younger brother (Joivan Wade). However, the biggest travesty is how the film wastes Oscar winner Marisa Tomei in a nothing role that feels like little more than busywork until she can return to the Marvel Cinematic Universe.

With its last two installments (especially The Purge: Anarchy), the series seemed to be finding its footing as a pitch-black action-horror thrill ride. Frank Grillo (Captain America: The Winter Soldier) proved to be the perfect leading man for the franchise, elevating it to a cult status that felt about right for this kind of sensationalized storytelling. So going the prequel route might have never been a wise move to begin with, especially since The First Purge breezes past all the most promising elements that a prequel could have brought. In lieu of that, director Gerard McMurry delivers just another Purge movie. Notably, The First Purge is the first entry not directed by series creator James DeMonaco, though he does retain sole screenwriting credit.

Somehow, The First Purge is simultaneously too much and not enough. So much of the film’s focus is on relishing the paranoia and sporadic violence of it all, but without characters we can care about or some compelling message underlining it, the film just feels exploitative. Alternatively, if The First Purge had leaned into the grimy B-movie appeal, it might have at least offered some genuine thrills or worked on a can’t-believe-I-just-saw-that level. Instead, The First Purge feels like a crime against itself, a project that betrays its own immense potential. The opportunity to explore the fever pitch that led the nation to such a drastic measure as implementing the Purge should have uncovered at least a modicum of profundity.

Franchise loyalists may still get the bare minimum amount of enjoyment out of this installment, but don’t expect a lick of substance or originality here. The First Purge does actually have something positive to say about human nature in the end (kinda?), but its ultimate takeaway boils down to the fact that politicians aren’t to be trusted. Seriously. With a concept as rich as this franchise has in a time as polarizing as this one, that’s the greatest insight The First Purge can muster. If audiences haven’t learned by now that modern politics is indeed the real horror show, they probably never will.

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Review: SUCCESSION Episode Five Is When The Vipers Prepared To Strike

By

Dewey Singleton - Film Critic

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Sunday’s episode of Succession was a carefully crafted menagerie of deception, double-crossing, and duplicitous behavior.

For the first time, it appears that every member of the Roy Family’s inner-circle is beginning to show their true colors. While we may have speculated in previous episodes as to what depths of treachery they would stoop to, the fifth episode clearly shows how low anyone in Logan’s inner circle is willing to go. Power is a temptation few can escape, and it seems the Roy’s crave it.

Episode five is when the audience begins to see all the principal players in the Roy family drama start becoming vicious. Kendall (Jeremy Strong) gets a tip concerning Logan (Brian Cox) and his desire to branch out into local Television. Kendall immediately begins plotting a vote of no confidence with other members of the board. Greg (Nicholas Braun) attempts to get in the good graces of Logan by driving down his grandfather Ewan (James Cromwell) for an explosive Thanksgiving reunion. Tom (Matthew Macfadyen) is growing concerned as it now appears Shiv (Sarah Snook) can’t be fully trusted and this is exacerbated by the terms of a prenuptial agreement which are less than fair. Tom, not realizing that Greg is a backstabber, asks him for a favor which will no doubt backfire down the road. However, the biggest surprise of the night comes from Connor (Alan Ruck) when the family sees who he brought to Thanksgiving dinner.

Sunday’s episode of Succession was written by Georgina Prichett and was carefully crafted to expose just enough of each cast members intentions to understand that they are all looking out for themselves. Prichett capitalized on the casting of Cromwell as Logan’s brother Ewan and wrote some of the best one-liners of the season. Seeing Cox and Cromwell go at each other was one of the best moments of Succession’s first season. Adam Arkin is once again in the director’s chair showing such understanding of the appropriate blocking and pacing for each sequence. Patrick Capone’s cinematography utilized a heavy dose of two shots bringing out the dynamics of everyone in the scene.

What stood out to me was how naive Tom is about the business world. How does he not realize Greg is looking for advancement, not friendship? He entrusts the youngest member of his corporate staff with disposing of the company’s darkest secrets. Why? In the end this decision will be what ultimately takes him down.

Kendall seems to be finally growing a spine and is willing to take down his father as he’s not himself. Personally, it seemed a little late to attempt this, but wasn’t it interesting that Roman is encouraging him as he seeks board votes. Marcia (Hiam Abbass) continues to be the most intriguing member of the Roy clan as her intentions aren’t exactly clear. Towards the end of episode five, we start to see what her role might be in what’s to come bit still a lot of questions are left unanswered.

Shiv is continuing to keep up appearances with Tom but seems to have darker intentions which don’t include being married. Culkin’s character Roman continues to be the MVP this season providing the most snark, ego-centric behavior, and a sprinkle of vulnerability. Overall, the episode was undoubtedly strong and launches us into what will be a cutthroat battle for control of Waystar.

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Review: STEVEN UNIVERSE: Now We’re Only Falling Apart

By

Anthony Wendel

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SPOILER WARNING (Watch Single Pale Rose at least before reading)

Summary

Garnet unfuses and Sapphire runs off.

Review

The first episode of Steven Universe after the earth shattering reveal in the previous episode, Single Pale Rose showcases just how much the creators know their audience. The entire episode seems to answer many of the questions and concerns which came after the reveal about Pink Diamond and her connection to everything. It’s chilling really when you realize the team knew exactly what the audience’s reaction would be.

The biggest concern which came from the previous episode was the accusation Pink Diamond’s actions were selfish and there were other paths she could have taken in an effort to try and achieve her goals. This episode hammers in the point “No! Pink Diamond did not have any other options except the choice she made.” It also goes out of its way to point out these actions were not nearly as selfish as everyone originally thought and Pink Diamond did have have others in mind when she made her choices. In fact, it was for the good of others she decided to make the hard choice and deceive so many.

There is also a great look into the relationship of Pearl and Rose and how it all began. It really goes to show how why Pearl feels the way she does for Rose and how it was more than duty which kept her along for so long. Instead, it has always been Pearl’s greatest wish to find a way to give someone she admires so greatly the one thing no one else could. It’s an adorable sight to behold.

The tone of the episode keeps the emotional depth running pretty high despite what was just revealed. It’s another great episode of the show. Not as great as the previous episode but it will be very hard to top a SIngle Pale Rose. Of course, never say never when it comes to Steven Universe.

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Jimmy McGill Embraces His Dark Side In The Brand New BETTER CALL SAUL Trailer

By

Dewey Singleton - Film Critic

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July 2, 2018

Jimmy McGill (Bob Odenkirk) has begun giving into the temptation of working for Gus Fring (Giancarlo Esposito) in Better Call Saul’s fourth season. AMC’s hit prequel focuses on the circumstances leading to McGill becoming the infamous Saul Goodman. Chuck (Michael Mckean) has long passed but the firey circumstances surrounding his death and ignited feuds which only leads to an explosive outcome.

Giancarlo Esposito as Gustavo “Gus” Fring – Better Call Saul _ Season 4, Episode 2 – Photo Credit: Nicole Wilder/AMC/Sony Pictures Television

Here’s the trailer setting the stage for season four –

AMC also released this synopsis –

In Better Call Saul‘s fourth season, Chuck’s death catalyzes Jimmy McGill’s transformation into Saul Goodman. In the wake of his loss, Jimmy takes steps into the criminal world that will put his future as a lawyer — and his relationship with Kim — in jeopardy. Chuck’s death deeply affects former colleagues Howard (Patrick Fabian) and Kim as well, putting the two of them once again on opposite sides of a battle sparked by the Brothers McGill. While Mike takes a more active role as Madrigal Electromotive’s newest (and most thorough) security consultant. It’s a volatile time to be in Gus Fring’s employ, as Hector’s collapse sends shock waves throughout the Albuquerque underworld and throws the cartel into chaos — tearing apart both Gus and Nacho’s well-laid plans. While Gus changes course, Nacho finds himself in the crosshairs of deadly forces.

Better Call Saul premieres August 6th on AMC.

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THE ROCK Channels His Inner John McClane In Latest SKYSCRAPER Trailer

By

Dewey Singleton - Film Critic

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July 2, 2018

Dwayne ” The Rock” Johnson, has quickly become one of Hollywood’s most successful actors seemingly churning out hit after hit. His latest project Skyscraper has the look and feel of any number of Die Hard movies. Johnson commented on this recently via twitter –

https://twitter.com/TheRock/status/1013504647196217351

With that in mind, here’s the final trailer for Skyscraper –

While the trailer doesn’t give the impression that the film even will come close to the classics Johnson alluded to, Skyscraper does appear to capture the essence of any number of 80’s/90’s action films. Johnson’s character like McClane is seemingly against incredible odds and seems to overcome them. Fans may need to check their brains at the door, so they can fully embrace any number of action sequences which will likely defy all logic. Check out this summary of Skyscraper which releases next week.

Former FBI Hostage Rescue Team leader and U.S. war veteran Will Ford now assesses security for skyscrapers. He’s on assignment in China when he finds the tallest, safest building in the world suddenly ablaze, and he’s been framed for it. A wanted man on the run, Will must find those responsible, clear his name and somehow rescue his family, which is trapped inside the building, above the fire line.

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Review: SHARP OBJECTS Cuts Right To The Origins Of Inner Torment

By

Dewey Singleton - Film Critic

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Sharp Objects is a slow burn that meticulously navigates a narrative, which ratchets the tension with every twist and deception until it reaches a feverish, yet satisfying point.

Combine this with three dominant performances, and the result is a series, which is reminiscent of True Detective’s first season. Amy Adams and Patricia Clarkson are both mesmerizing on screen, and together they slowly build towards a simmering ferocity, which appears unavoidable. Sharp Objects is about the infinite ripple effects trauma can have on anybody (whether it’s a town, a family, or person).

Camille Preaker (Adams) is a reporter from St. Louis who is recovering from a stay in a psych ward. Camille’s editor is seeking to get her feet back by giving an assignment which takes the traumatized reporter back to Wind Gap, Missouri (her hometown). The locals are still reeling after a young girl was found murdered and are on as her best friend is missing.

It’s a town on edge, but that doesn’t seem to be effecting Camille’s mother, Adora (Patricia Clarkson). Camille’s mother only wants her eldest daughter to curb this murder talk as it upsets the town folks and badly influences her half-sister Amma (Eliza Scanlan). The violent nature of these acts draws attention from state law enforcement officials thus Kansas City sends down Detective Willis (Chris Messina) to assist in Wind Gap’s investigation.

As she begins to dig into these crimes, Camille unearths some personal demons which have a direct impact on her ability to function socially and could jeopardize any chance of solving this case.

The Sharp Objects writing team of Gillian Flynn, Marti Noxin, Scott Brown, Ariella Blejer, Alex Metcalf, Dawn Kamoche, Vince Calandra, and Vince Calandra Jr were able to mine Flynn’s source material to create an engrossing yet compelling narrative. The team took instances where Camille drifts off mentally in Flynn’s prose creating countless sequences reflecting how deep her scars are.

Jean-Marc Vallée’s direction is confident radiating a level of fearlessness not often seen. Vallée understood that audience’s need a visual to connect with Camille’s pain thus casting a younger version of Adams’s character was necessary. Instead of creating a clear separation between past and present, Sharp Objects melds these two into one stream of consciousness. Camille lives life in a booze-filled haze which at any moment can pivot into reliving another horrific moment from her past. These moments are enhanced by slight tweaks of the pace creating the appropriate tone.

Cinematographers Yves Bélanger and Ronald Plante were able to capture how deceptively dark Wind Gap is. By focusing on John Paino’s stellar production design and then panning to left or right, we were able to capture the lightness of the front and darkness in each corner or alleyway.

Set Designer Amy Wells and Matt McWilliams followed this when creating Camille’s family home ( built during the Civil War). The color palette for these sets made use of earthy tones creating a dark image no matter what time of the day. What stood out to me was how layered the home hinting that what we see is surface deep.

Adams, Clarkson, and Scanlan each deliver gut-wrenching performances. Adams is terrific and exudes such pain behind a facade of smiles and pleasantries. Clarkson performance as Camille’s mother was electric and delightfully twisted. Scanlan’s performance was a revelation. Her portrayal of Camille’s half-sister is dripping with conflict, turmoil, and jealousy all while maintaining the appearance of being a perfect angel. Overall, Sharp Objects is an impressive piece of television destined to turn heads and win multiple Emmy’s.

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The SONIC THE HEDGEHOG Movie Finds its Robotnik

By

Kieran Freemantle

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June 30, 2018

Dr. Robotnik is one of the most iconic villains in video games, a megalomaniac scientist with an IQ of 300 and plans for world domination. He is a source of fear for forest critters everywhere. Deadline now reports that an actor has been found to play the character for the Sonic the Hedgehog movie – Jim Carrey.

Sonic the Hedgehog is one of the popular video game franchises. Created by Yuji Naka, Naoto Ohshima, and Hirokazu Yashuhara, Sonic the Hedgehog is Sega’s mascot and he has appeared in numerous video games, TV shows, comic books and an anime OVA. And Robotnik has been the villain in all these various media.

Robotnik, or Dr. Eggman in most modern incantations, has been interpreted in a multitude of ways. In Sonic SatAM (arguably the best interpretation of the Sonic the Hedgehog franchise) Robotnik was the epitome of evil, who has achieved world domination and enjoys turning animals into robots, whilst other versions have made him out to be a buffoonish character. However, all versions of Robotnik have similar physical characteristics: his huge figure and big ginger mustache.

Jim Carrey is a larger-than-life comedian and he would have no problem playing Robotnik as a self-centered, pompous narcissist. Nor would it be the first time Carrey has played a villain, he has played The Riddler and Dr. Seuss’ Grinch. However, in recent years Carrey has been slowing down his most output of work and his most recent film was a dark crime-thriller, Dark Crimes and he is currently set to star in the comedy-drama series Kidding for Showtime. This seems more like an attempt for Carrey to get back into the limelight and star in big a family-friendly picture. Carrey also has the challenge to match Jim Cummings and Mike Pollack’s versions of the character.

The Sonic the Hedgehog has been in development since 2014 and is being produced and released by Paramount after picking up the rights from Sony. Original Film, the production company behind the Fast and Furious franchise, is also producing the film.

I grew up on the Sonic the Hedgehog Genesis (Mega Drive) games and the cartoon shows from’90s and I am not hopeful for this film. The film has been given Jeff Fowler, making his directional debut and being written by Patrick Casey, Josh Miller and Oren Uziel whose credits leave a lot to be desired. The only signs of promise are Uziel wrote 22 Jump Street and Junkie XL has been hired to write the music.

The other issue affecting the film is it’s going to be a CGI/live-action hybrid. For every Paddington, there is a Smurfs, Hop and Peter Rabbit to counteract it. The Sonic the Hedgehog movie seems unlikely to break the video game movie curse.

The Sonic the Hedgehog movie is scheduled for a November 15, 2019, release date in the USA and November 28 in the UK and Australia.

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Review: WONDER WOMAN #49 Brings the War with the Dark Gods to a Head

By

Jose "Jody" Cardona

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The battle between the Dark Gods and Wonder Woman slowly comes to a head.

The last issue of Wonder Woman saw very little of the Amazon. Instead, we watched her brother, Jason, launch an attack against the Dark Gods. He first tries to take on the Gods, named Karnell, Savage Fire, the Mob God, and the God with No Name. They quickly defeat him, but Jason gets the backup of Supergirl and the Justice League for round 2. The Dark Gods, however, aren’t pushovers and promptly defeat the heroes thanks to their leader, King Best. Before all seems lost, Diana returns just as King Best takes form and begins his path of destruction. Will Wonder Woman and Jason be able to contain this madness?

**Some Spoilers Below**

Story:

It’s strange to think that an issue that is mostly a fight scene would be a slow one. Wonder Woman and Jason go up against King Best with cool powers and team attacks. The problem, however, is that it continues to cut away from this action by showing what the other Dark Gods are doing. While it would be interesting to see such at the beginning, it is spread throughout and bogs the whole story down. I want to look at Wonder Woman and her brother fight a giant god, not learn that a random guy is hypnotized by a Dark God. It’s choppy storytelling like this that makes the comic feel more like a chore to read.

If there is any part of the story that stands out, it’s the “oh $&#%” cliffhanger. I’ve read plenty of stories with such cliffhangers, but this one is a real gut-punch. Not because it’s shocking for this arc, but when you realize next issue is the finale for Robinson’s run for the time being. From the moment Diana sought out Jason, it built to this moment. It got me excited for next time, despite its failures this issue.

Art:

While the story is very flawed, the art of this arc has been fantastic, and this issue is no exception. Jesús Merino continues to show off his mastery as an illustrator with the battle against King Best. The design of the leader of the Dark Gods is terrific, and the Amazon twins have never looked better. Jason, in particular, looks great as the details in his powers make him appear more powerful than ever. Even if next issue falls apart, I do not doubt that the art will still go above and beyond.

Conclusion:

While it had some exciting parts, the penultimate issue of The Dark Gods arc feels like a chore. The art is excellent, but the story structure bogs down what could have been a great action packed time. We have one last issue to go, so here’s hoping it turns itself around.

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Review: Tandy Takes Control in CLOAK AND DAGGER “Princeton Offense”

By

Kimberly Cook

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Tandy (Olivia Holt) is a clever con artist. She’s resourceful and sharp, and these attributes may lead her to some of the answers she’s been seeking in tonight’s episode of Cloak & Dagger, “Princeton Offense.”

“The world has stolen from me my whole life. My dad, his name, our money. Maybe I have this thing so I can steal some of it back.”

In the midst of Tandy using her powers to gain information about the underbelly of Roxxon Corporation, she’s throwing Tyrone’s (Aubrey Joseph) powers into a tizzy at the worst possible time.

Tonight’s the basketball state championships, but Tyrone is indifferent. He knows that the rival school is from the New Orleans district where he grew up. The referee is throwing the game in St. Sebastian Prep’s favor, and Tyrone realizes this. By coming in contact with him and several of the opposing team’s players, it’s evident that this game means more to the others than it does to him. He wants to make his late brother (Marqus Clae) proud and feels that winning the game isn’t the way to do that.

By touching someone, Tyrone sees the other person’s fears, which is something we discovered several episodes ago. However, when Evita (Noelle Renee Bercy) shows up in his bedroom after losing the big game, things get steamy, but he doesn’t go into fear-vision mode with her. Is there a reason for this? Is she immune to his powers? Or, is this just a plothole?

AUBREY JOSEPH — Noelle Renee Bercy & Aubrey Joseph
(Freeform/Alfonso Bresciani)

Our eyes were opened wide with the actions of Detective O’Reilly (Emma Lahana). Sex on the job in the back of a squad car, snorting coke in the evidence room… damn. Tyrone comes to her after Tandy said that she could be trusted, hoping to nail Connors (J.D. Evermore) on cocaine trafficking. This sends O’Reilly on a hunt for proof. I guess when you’re trying to fit in and go undercover, you do as the others do, too. Even if it means doing a line… or two.

Pieces of the puzzle from that fateful, stormy night are finally starting to connect. Tandy and Tyrone still have a lot to learn about the accident, their powers, and each other. Do you think they’ll soon find the answers they’re searching for?

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