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The Passage Season 1 Episode 2 Review: You Owe Me a Unicorn



Damn, this show moves at a brisk pace. 


The Passage Season 1 Episode 2 was a solid follow-up to The Passage Season 1 Episode 1 and mostly avoided the post-pilot slowdown most high concept dramas struggle with. 


Based on all the promotional materials, it seemed like the entire series was going to focus on Brad and Amy being on the run from all of the agents related to Project Noah. 


That’s why I was so surprised when Amy and Brad were being bundled into a van under the order of Clark. 


That was the type of development I thought would occur just on the penultimate episode of The Passage Season 1, so I loved every single minute of it. 


Maybe there will be some last-minute twist that will allow the pair to escape once again and go on the run. 


Related: The Good Doctor Season 2 Episode 10 Review: Quarantine


Brad’s back may have been against the wall, but bringing Lacey into the mess he created was a dumb move. I can’t be the only one who called Lacey’s death the moment we met her. 


She knew how to keep herself safe with her gun collection, but viewers need to feel like Brad and Amy have nobody to turn to, and that’s why she had to go. 


In an ideal world, Lacey would have been allowed to stick around because she was a no-nonsense character who could put Brad in line with a matter of words. 


However, Brad was in bad shape and needed someplace to lay low after getting shot. Amy did what any normal person would do in that scenario. 


It was obvious that calling Lila was going to leave some sort of link to her and that cell phone. Now, she’s going to find herself embroiled in this whole mess. 


The agents are going to have her under a microscope to watch her every move now, so she will likely go off the grid for some time before popping back up down the line. 


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Amy flying off the handle with Brad was a heartwarming scene that really solidified that there are two people here who need each other equally. 


The youngster thought the man who saved her life was dead, and that she was all alone in the world. Their relationship is very reminiscent to the one between Clementine and Lee on Telltale’s The Walking Dead games. 

passage 3


The heart of the show is these two, and they’ve found each other under the most extraordinary of circumstances. The father figure role for Brad is clearly as a result of his longing to have a sense of belonging following the death of his daughter. 


Lila picked up on that, and I’m sure Clark will figure that out eventually. 


The plot at Project Noah started to thicken, and I was so glad Shauna took that pesky worker out of the equation. He was baiting her to do something, and she did. 

Anthony: How is any of this legal? It’s not, is it? If this was on the up and up, you guys wouldn’t be looking for prisoners to experiment on.
Jonas: We’re in a desperate situation, Mr. Connor. So are you.
Anthony: I can’t argue with that, but why am I more scared now than I was on death row?


Whether this will change the level of clearance to come in contact with the vampires, I don’t know. 


The most intriguing information about the vampires we know is that they can communicate via dreams. Some of the characters picked up on it on The Passage Season 1 Episode 1, and Anthony was freaked the eff out about it on “You Owe Me a Unicorn.”


That meeting between Tim, Shauna, and Anthony was very telling. Tim is the ring leader in all of this, while the others are expected to obey his orders. 


Anthony knew there was something sketchy about what was going on and was not ready to submit. We’re no closer to finding out what the vampires are capable of besides biting and invading the minds of others from a distance. 


There has to be more, right? 

Anthony: Sensitivity to sunlight is a side effect?
Jonas: Can be, but if all goes well, you’ll be impervious to disease.


Tim understandably holds a grudge against Jonas because he was the one who took him to the cave that ended his human life. What we don’t know is whether there is a higher being controlling the vampires or if Tim is the one in control of all the vampires. 


Jonas’ mission for a cure was obviously clouded by his love for his wife who was battling Alzheimer’s. There’s always something more, right? 


Jonas was all about this, but after seeing the aftermath of a bite, he seemed ready to give up on finding the cure. That’s pretty telling about the catastrophic effect these beings could have on the world. 


“You Owe Me a Unicorn” was another solid episode of this freshman drama. With solid pacing, intriguing mythology and first-rate acting, Fox is on to a winner. 


What are your thoughts on the episode, The Passage Fanatics?


Hit the comments below!


Remember you can watch The Passage online right here via TV Fanatic. 


The Passage continues Mondays at 9/8c on Fox. 

Paul Dailly is the Associate Editor for TV Fanatic. Follow him on Twitter.





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‘Outlander’ Season 4, Episode 12: The Last Word


This has been an uneven season. On top of the usual demands — two time periods, two countries, two major couples, a villain, an ever-expanding supporting cast — there were the racial issues of colonial America, Brianna’s rape, and the fracturing of the Frasers. No wonder this week’s episode struggled to weave things back together as we near the season finale.

It’s so busy that we get only one glimpse of Jamie, Claire and Ian. There just isn’t time for more, given everything else. Fergus and Marsali stage a jailbreak to get Murtagh out of enemy hands. Brianna and Lord John take a road trip to confront Stephen Bonnet. And Roger has a rotten time in the Mohawk village, meets two new friends and ends up lighting one of them on fire. Busy week.

The most satisfying subplot is Brianna’s. Not the actual encounter with Bonnet — that’s a real casualty of this episode’s rush. Bonnet races from the season’s monster to tearful fatherhood, and Brianna practically pingpongs back and forth from the cell door as they battle for the last word. Sophie Skelton and Ed Speleers do their best to give weight to the rapid-fire confrontation, but given how long Brianna has suffered, there’s just not enough time for her to settle all those ghosts.

No, the most satisfying thing about Brianna’s journey is watching her navigate it with Lord John, who turns out to be a dream co-pilot. He tells her immediately that Bonnet has been caught. When she says she wants to see him, Lord John expresses concern, but he respects her wishes and offers his help. And in the jail, he honors her choice to go in alone but promises he is nearby if she needs him.

“You are impossible not to like,” Brianna marvels. That’s by design. The show is determined to make you love Lord John. He is shot in endlessly warm light and is endlessly accommodating. Even his sharp edges are getting smoothed over. (He has been a champion of British order against the regulators, but he happily covers for Murtagh.)

And he’s quickly building a rapport with Brianna. It might not be passionate, but it is respectful, which is a nice counterpoint to how other men in her life have treated her.

Even Jamie’s loving letter warns her how important it is that she forgive Bonnet and try not to take revenge. That may be well-intentioned, but it is also a little rich coming from a man currently on a road trip to rescue the guy he nearly killed for revenge. And speaking of that guy, Roger resents his life so much right now that it’s weird she can’t feel it 600 miles south.

This episode seems to delight in comparing Brianna’s two marriage options, as the camera cuts from the considerate, informative, respectful Lord John to Roger, getting more grizzled by the minute as he mutters about his heartbreak: “I’ve learned something from my pain … look out for No. 1. Well, from now on, that’s me.” He’s so cynical that he manages to alienate a priest (Yan Tual) who had been in solitary confinement.

It’s hard to fault Roger for being bitter as he sits in prison impossibly far from home. And yet he has been driven to this despair not by any awareness of his own faults, but by the machinations of a subplot that has encapsulated a lot of this season’s problems with race.

The Mohawk were cruel slavedrivers as they brought Roger north, and now they’re cruel villagers — beating Roger, imprisoning the priest and quickly resorting to murder by torture. (There is also the implication that the torture order comes from the jealous suitor (Braeden Clarke) of a Mohawk woman in love with the white priest, which does not help.) And Roger, who veered back and forth frequently from protagonist to antihero this season, gets to play hero at the expense of the Mohawk.

As the Mohawk slowly roast the tragic and handsome priest, Roger barrels through the village, tossing accelerant onto the pyre to end it faster. A tearful Johiehon (Sera-Lys McArthur) sets aside her baby and races into the flames, as Roger and the Mohawk villagers stand aghast at the spectacle. And all the while, “Adagio for Strings” plays — a musical shortcut to suggest tragedy, scoring a scene that doesn’t have the groundwork to be tragic on its own. And though Roger’s time with the Mohawk isn’t quite over, it’s hard to imagine this subplot will develop much nuance from here.

With one episode left in the season, there are plenty of loose ends to tie up. Circumstances increasingly point to dramatic reunions, rather than engaging with the wider historical issues of this season’s narrative. It will be telling to see what things “Outlander” wraps next episode, and what it leaves out in the cold.

Other Gossip:

• I appreciate Fergus’s face as he realizes that of all the jails in all the cities in all the colonies in all the world, Lord John and Brianna Fraser end up in his jailbreak.

• The Mohawk story is deeply disappointing, but it’s good to hear Mohawk spoken in the village scenes, and Sera-Lys McArthur is memorable with very little as Johiehon.

• You know John’s a keeper when he asks permission before touching a pregnant woman.

• The lingering question of this episode is whether Bonnet’s speedy contrition is enough that we don’t mind if he survived that explosion. Guess we’ll find out.



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