He paid little attention to what he said, and blamed Glaucus for his stupidity in taking in and feeding maimed and enfeebled persons. --Alexander Pope on the entirely unnecessary apocrypha on the life of Homer.
JJ Abrams has a subtext in Revolution: We are all capable of being hideous, of betraying those we love the most, and yet still remain as human, or not, as we choose. The show illustrates this to varying degrees, in the relationship between Burke and Lyons, however much their acting is studio stock and trade, and is of particular interest when looking at Esposito, most likely the best actor in the series, or the most interesting, given his resume as a supporting actor. It is interesting to look at the evolution of these portrayals against Simenon's complex noir tensions, which come through in The Brothers Rico, despite its genetic 1950's composition. I hope to be able to say something penetrating about those tensions at the end of the day, for those of you who will bear with me.
I left this last at the scene between Conte and the laundry driver (no hint there of corruption or pressure by the Teamsters, but I thought of it anyway, because this was the era of such corruption at its height), and then an impaction occurs, a condensation that is artificial due to editing constraints: not moments after the psycho gangster exits Eddie's office, the call comes in from Kubik for his facade of a detente, and then the game begins.
I will pick it up from this point after a nap, which I hope is due to a hibernation reflex, and not the closer of congestive heart failure and an oxygen generator. I have much to do so this will, hopefully, be a real nap, and I'll be back after the news. My hair is dry now, having washed it after breakfast (in real time 12/19, whoops).
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