A strong but predictable ending

A strong but predictable ending

Photo: Peter Kramer (US Network) TV Reviews All our TV reviews in one convenient place.

The Sinner was not much of a mystery for this season. True, the show tried something a little different from the previous episodes – “What happened?” – more of a character exploration – but it resulted in a quieter and less exciting season that gained strength by entering Bill Pullman’s detailed detective story. as opposed to finding one’s purpose in the external world. Now it’s over, the last seconds understand the most touching moment of all eight episodes: Harry Ambrose can no longer control his emotions. “What was he like? In the end,” Sonya asks Jamie if he’s dead, and Harry replies briefly, “I’m scared.” And so on; he pulls Sonya towards him and cries as he brings all his experience to mind. It’s a strong note to get out of, especially after an episode that doesn’t do much to provide anything.

There’s something about Jamie Burns’ last hours that he’s very thoughtful and predictable. There were all sorts of high-sounding speeches about how gentle and polite the rest of the world is, how superior it is to seeing the lifeless nest of modern society, and how ignorant other people are. No, in the end, Jamie is another little avenger who hates, a wounded soul who claims to hurt, a radical act of renewed rebellion, after becoming a general driver for revenge on the person he thinks they did wrong. She. The plot wise, most of this hour plays out as an average episode of something like Criminal Minds; another uninvented killer who chases after the person who tried to bring him. How appropriate it is for a child to secretly believe that his life is better than others, to think of nothing but revenge, to fall into the role of a typical murderer.

This makes his last confrontation with Harry so humane. Jamie’s grandson kidnaps Eli and calls Harry out of his house, telling him that the police will come alone or that another Eli will die. But when Harry tries to force the fortune-teller to play dice with his grandson’s life, Harry refuses, and Jamie’s plans immediately collapse and panic. “Do it!” Harry orders Jamie to continue this work, to kill Eli, to kill him, to do anything without the sacred window of his little fortune-teller and the philosophy of minors. At this point, it becomes clear that Jamie does not know what he wants to see and manage. There’s nothing when Harry picks it up: Jamie hits the gun in his hand on Eli, Eli’s head, before he shows it anywhere. There is no great idea. He was only upset that Harry had put him in prison and that his family had rejected him.

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Photo: Peter Kramer (US Network)

There is nothing more understandable, but it evaporates most of the tension, even in the fight with Harry in the woods. Harry returned home with a rock and a head to get his gun out of the safe. This is what causes the standard release. Jamie sets up his weapon to deliver his magnificent monologue about how something unconscious will enchant you until you come across it, Nick is like Harry now, and blah blah-blah then Harry hits him in the middle monologue. A great moment in the part of the show brings Jamie up short because he has nothing to say. And Harry is frustrated by the most important part of everything. In the end, Jamie, like the rest of us, is just miserable and scared, afraid to die. “I do not want to die. I don’t want to go, ”he begs, and of course he touches.

Best of all, it allows the chapter to focus on radical philosophy and the difference between the practice of thought and crime. “I’m not a bad person,” says Jamie, and while we know he believes it, we know it’s not true. He killed three people, planned to kill more; is the definition of a bad person. You can’t commit a crime and then protest that it’s not yours. Jamie and Nick and people like them believe they think they are in the middle of it. But it’s the actions that define you: no matter how much you read Nietzsche and how insulting your lectures are, if you’ve done the same things as any random engine. This is a lesson from Hitchcock’s rope and the talented Mr. Ripley and a number of other crime thrillers. You do not distinguish yourself as a spiritual person, because after a long day you like long walks on the beach and hot cocoa. You do this without harming others. Jamie failed. He is a bad man.

Photo: Peter Kramer (US Network)

That’s why Harry’s Arc has been more rewarding to watch what’s happening this season. He struggles with the same feelings as Jamie, but he knows very well the human value of confusing others. So she divorced and lived alone in a remote house in the woods. He wants to have a relationship with his daughter and granddaughter, but he always keeps them in his arms to prevent the unpleasant events that Jamie and Jamie have already suffered. He does not want to harm anyone, and he knows that being a good person in this world has a deep value. No one understands that it is hypocritical to think and do nothing about it, but like most adults, he finds an unrealistic balance, even though it brings him closer to the higher level than most of us (which makes him an interesting character). Sonya expresses this episode better than anyone when she foolishly waits for Jamie to appear at the door instead of fleeing to safety. Harry and Jamie make their choices for the same reasons they make them – they want to feel something. But he knows that he cannot always control his emotions. “Maybe we’re all hypocrites,” Jamie said, still listening. “Maybe that’s a way of life.”

The actions in this last episode are a bit too much, as if the show is about a checklist of necessary beatings – a speech about an idle criminal, Jamie’s motivation to the assembled police, the incident, and so on. The long-awaited ending to get to the interesting things by continuing the moments of the standard release thriller. Still, the endings of Jamie and Harry create powerful scenes as they trust the actors to sell the intensity and humanity of the final exchange. Going deep into the heads of these characters (and Nick, with the extension) is very rewarding, thanks to how good the performances are. It’s nowhere near Sinner’s best season, but thanks to some great actors, it’s been charming.

Critical observations

  • Bill Pullman does his best work here. In a small touch he adds: Harry always stays a little open the door when he goes to meet Jamie, Harry is always looking for a snack bowl, but never smokes in the last scene with Sonya. He knows Ambrose well up to this point, and everything he brings adds value. I wouldn’t brag about an Emmy nomination.
  • Each of the actors has really allowed the extended approaches on their faces to be noticeably successful throughout the season. Jessica Hecht portrays much of Sonya’s inner life, while Bomer uses her stereotypically beautiful looks for spectacular effect, denying that the glassy surface of her chilled face is angry. It just works beautifully everywhere.
  • I wonder if the media will give Jamie a stupid nickname after his death, or give him a “fortune teller killer” or something like that. We will probably never know for the best.
  • Thank you all for watching, reading and discussing this last part of Sinner together. As the chapter progressed, it was a pleasure to see your comments and thoughts.

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