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Day Three Recap, Episode 5: Tuesday

 


The third day

Tuesday – The girl

Season 1

Episode 5

Editors Note

4 stars

Photo: Liam Daniel / HBO

I wrote before Jude Laws face was the real star of The third day. After tonight’s episode, it’s safe to say that Naomie Harriss’s face shares the best billing. Watch how director Philippa Lowthorpes’s camera takes a close-up as Harriss character Helen learns the baby she has just given birth for a woman she has spent all night trying to locate and help, was fathered by her missing husband, Sam, still alive and living on the island. of Osea, despite everything she’s heard to the contrary.

It’s subtle, but you can almost see the exact moment when the tears of joy accumulate in her eyes for the beauty of this mother-child painting turn into tears of shock and sadness. You can barely see her smile tighten, the love and happiness that it entailed turning in her mind to betrayal, confusion and anger. But Helen at to keep it together, she at to keep the forehead serene and peaceful. Even when Jess, the woman whose baby Helen helped give birth, assigns Helen to walk to the big house on the island and summon Sam to see her new daughter, Helen doesn’t break up. But you can see everything she’s holding back written all over her face.

His extraordinary game. And that’s one of the reasons I liked this episode less for the secrets, the silliness, and the sinister cult shenanigans, though they were all in effect, and they all performed really well. than for the very human drama that plays out with Helen and her children. This includes Nathan, the son she believes was murdered. While searching for the suddenly missing Jess on the brink of childbirth, whose disappearance shakes already bitterly divided islanders, Helen confides in her research partner, a mysterious and concerned man with a mustache introduced as The Cowboy. (played by Paul Kaye, aka Game of thrones Red Priest, Thoros of Myr), that Nathan was not the angel that sympathizers like the Cowboy called him. He was a difficult, angry and violent child. The last thing she told him before he was kidnapped was that she wished he had never been born. That’s an incredible amount of weight to carry, and it makes Helens a laborious but above all kind treatment of his surviving children, something like a minor miracle.

So, does that mean she’s reckless when she repeatedly leaves her daughters, Ellie and Lu, on their own as she tries to find and help Jess? It’s hard to say. I mean, you could even attribute that to a hole in the writing of the show, if you were that inclined; Would a mother who lost a child to a murderer leave her other children alone on an island filled to the brim with strange and hostile people who are often armed and lie to her even more often? Could it be that her determination to get to the bottom of her husband Sams’ disappearance, tied as it is to the psychotic breaks he started having after Nathan’s death, simply outweighs her other concerns?

Either way, it doesn’t work well for kids. The religion-curious eldest daughter Ellie is carried away by Jess’s eldest, a terribly intense teenager named Kail (Freya Allan). She leads Ellie to an underground cave where persecuted islanders come to perform their religious rites, a mixture of ancient Christianity and even older paganism. It ties together various atrocities committed on the island or, in the case of Jack the Ripper, committed by an islander during a time of climactic upheaval around the world. Osea is at the heart of everything, she insists, just as many adults on the island have said. For Ellie, a drifting girl feeling left out, excluded and abandoned, suddenly discovering herself in the center of the universe is a dangerously alluring prospect.

The Lus situation, on the other hand, is not attractive, but dangerous. Left alone with Jess, she bonds with the woman over Jess’ adorable newborn, safely delivered only because Helen detected and corrected her cross-sectional lie before childbirth. But when she mentions that she had a brother named Nathan, Jess realizes that this is one of Sams’ children and is safe to assume, a threat to the line of succession that could see the new one. Jess’s baby crowned as the island’s rightful ruler. Jess pulls out a knife; Lu is running for his life. In these moments, the transformation within Jess is frightening to see, and actor Katherine Waterston makes the change with chilling conviction.

Even as her daughters face it all, Helen nears the end of her journey. As she approaches the big house, walking along Oseas’ cobbled shore, a voice calls out to her. She looks and sees a man in white, with long, tousled hair, standing at the edge of a quay. It’s Sam, looking completely broken. We can see his face. We see his face. His quest is over.

But at the same time, this is only the beginning. Helen will have to learn the truth, the whole truth about Nathan’s murder and Sam’s disappearance and his intentions towards Jess and the island and everyone. (Even the Martins, who spend the episode telling their usual lie and then admitting it in two steps.) Shell wants to reunite the family, now scattered to the winds. Shell probably wants to get rid of this island, a difficult prospect even at the best of times. In the meantime, Shell must survive the schism to find out who should be the island’s father (or mother, in the case of Jess’ daughters), which has torn the place apart since Sam’s arrival. don’t seem like people who won’t let any of them go without a fight, that’s for sure.

That’s a lot of ground for the last episode of the series to cover. But there has been such a firm hand on the helm from the start, balancing heartbreak and dark humor, cult horror and family dynamics, the religion of yesteryear and modern weaknesses, great visuals and big ones. captivating shots. Whatever the fate of Helen, Sam and Jess and their children and the island, I have no doubts the show will deliver.

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