Empire of sin hair trigger bug6/22/2023 There’s even a golden Cristobal statue in the lobby of the enormous offices. It’s called Nohobal, a cynical reference to the man who had to die for Hank’s dream (Cristobal’s own dream) to come true. And Hank has built an empire out of sand, the “crime utopia” he always envisioned. In the past eight years, Fuches has fully leaned into his “Raven” persona, becoming the notorious, magnetic hit man Hank originally invented (with the help of many tattoos and black nail polish). When the two men come together to make a deal - Fuches and his guys protecting Hank’s properties in exchange for money, a beautiful house, and Barry’s head on a platter - it’s a partnership between two people at the top of their criminal game. Really, every scene of the Fuches/NoHo Hank subplot has laugh-out-loud moments. ![]() And only seconds after leaving a shell-shocked Sally, we’re laughing at Fuches introducing a daughter he just met, inherited from a coffee-shop barista who pledged herself to him as soon as he laid eyes on her. Besides, I still see so much humor here, including Sally plying her kid with vodka to get him out of her hair. I know not everybody has enjoyed the darker turn that the series has taken, but the opportunity to see Hader hone his style has been worth it, especially with these crosses over into horror. ![]() It also brings her trauma roaring back, with her mind trapped in that moment eight years ago when she snapped and killed someone.īill Hader has found ways to experiment with a wide range of tones on Barry, which feels especially true now. We’ve established that she only feels safe with Barry, and this feels like something she manifested from that belief. It’s a stand-in for the threats that could show up at any moment when Barry isn’t there, leaving Sally powerless and ill-prepared. It’s not a hallucination, but the logic isn’t necessarily meant to be puzzled over. No, this scene operates more on nightmare logic, like the giggling kids who disappeared into the darkness after knocking on the door in the last episode. ![]() As far as we know, the intruder(s) have nothing to do with any of the main parties we know who want Barry dead, like Hank, Fuches, or Jim Moss. Bill Hader and the other writers tend to plot this show within an inch of its life, but this particular attack has no real plot purpose besides maybe denying Sally the choice of simply waiting for Barry to return. But what most interests me about this sequence is that there’s really no in-universe explanation for it. Lest we think this was all a dream, the episode eventually returns to the living room, with John waking to a wrecked house. Only a few seconds later, he has driven away. When Sally makes it back to her bedroom, the man slams and locks the door behind her, only for her to hear a disembodied sound from her own memories: the biker she stabbed back in “Starting Now” repeatedly asking, “What did you put in my eye?” She also hears him apparently inspecting her unconscious son, but she has no time to process it all: Just as she tries to shoot her unloaded gun through the door, the bedroom wall is rammed hard by a pickup truck, tilting the whole house sideways and overturning everything inside. ![]() We can only imagine what he’s getting ready to do off-screen. That’s a scary image to begin with, almost akin to Rubber Man from the first season of American Horror Story, but it’s the sound editing and Hader’s direction that makes it almost unbearably tense, especially when the camera pans to a spot where the figure isn’t visible. First, a tall man in a black morph suit appears, closely following Sally around the room. When Sally hears faint yelling about coming for her and her son and slowly steps into the living room, we’re primed for action.Īnd yet I still never could have predicted the actual threats that would show up here and how they would show up. John is asleep and vulnerable on the couch, with the door and windows accessible to intruders. It’s terrifying in a number of ways, starting from the circumstances. One of the most bone-chilling sequences in the entire run of Barry begins 20 minutes through tonight’s episode: an attack on Barry and Sally’s remote home that leaves the latter calling her husband in a panic, pleading with him to come home.
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