I FINALLY got around to screencapping Run All Night and have added the captures to the gallery. Im working on adding Robocop sometime this week so look out for those.
EW.com – And so The Killing’s series finale begins just as the pilot did, with Sarah Linden running. But this is not the tranquil jog of the show’s opener. It’s a frantic sprint, like she’s running for her life. As soon as she spots the red pinwheel she cherished as a child—referenced during Linden’s reunion with her biological mother in the show’s penultimate episode—it’s clear all this is a dream. Below that pinwheel is young Sarah Linden herself, buried and lifeless. After all these years working soul-crushing homicide cases (and going in and out of the psych ward), it took this entanglement with the Pied Piper (her partner, her lover, her boss, her first murder victim) to truly rob Linden of her innocence. Behind Linden, a gun comes into frame. Is death the only way she can return to her former, better self? Once the trigger is pulled, it blasts Linden into the waking world to find out.
In another echo of the pilot, a line of men scours the forest. Only these aren’t police, looking to solve a crime—they are cadets at a twisted military academy, unwittingly abetting one. Kyle Stansbury’s bloody handprint tells them they’re not far behind.
At the obstetrician’s office, Holder is battling so many demons that he’s barely present. It’s something Caroline has mentioned several times in the last couple of weeks, and she deserves an explanation for his distance. Holder says he’s sick—a loaded word that covers every one of his current problems (sick with guilt, sick like an addict, sick in the head…). Without saying his crime—he wouldn’t dare utter it in front of his wife-to-be and his unborn child—he tells Caroline he has a choice to make “between you and her.” He is absolutely destroyed in acknowledging what he’s become (or, more to point, who he’s become: his father). Caroline immediately understands the other woman is Linden and presumably thinks the betrayal is physical. She dismisses Holder’s self-loathing, putting on her lawyer face and insisting nothing matters now except their baby. Once Holder hears the heartbeat of his daughter(!), the clouds sweep away from his face, and it seems he believes Caroline.
Magic bullet status update: Still no bullet. But the phone does ring while Linden search, and she heads to a rainy lot and waits (back on the cigs like old times). A bloody hand slaps her window. It’s Kyle. He’s been shot, and the memories of his family’s murder are flooding—another, and perhaps The Killing’s last, pathetic fallacy. It is absolutely pouring outside as Kyle identifies Fielding, Knopf, and Colonel Rayne as murderers. As Linden cradles him, just like he cradled his 6-year-old sister Nadine through her night terrors, Kyle wails, “I don’t want to remember. I don’t want to remember. I don’t want to remember!” Then, pitifully: “I want go home.”
Linden deposits Kyle at her house so she can do some work. He looks out the window, musing that this must be “what Eden was like.” She riffs on their first conversation, saying that a tree outside is the Tree of Life. She assures him he’ll be safe, that no one will find him. But if Linden possesses the same skill for hiding people as she does for covering up murders, I’m not so confident.
NEXT: Blood, Rayne (read more at the source … )
VIEW: The Killing: Screen Captures > Season Four: Screencaps (2014) > 4.06 – Eden
EW.com – D-Day: With Skinner’s body and the bodies of his victims uncovered, Linden surveys the wreckage she hath wrought. As Holder looks on, she makes her way toward Skinner’s body bag and lifts it to really take in the ghastly truth. Her expression settles into some combination of resignation, resolution, and nausea.
Reddick joins the medical examiner, who blithely notes that the victims might take a while to ID since they’d gone undiscovered so long. Or, as he puts it, “there’d be less animal activity—they might still have their faces.” Thanks for the graphic description, buddy. Reddick pays particular attention to Skinner’s case, demanding a personal copy of the autopsy findings. Believing Reddick only has circumstantial evidence, Linden coaches Holder that their best defense is to stay strong and stay on the same page. Just a thought: She would be smart not to be game-planning her murder defense just yards away from the man investigating her.
Their caucus is interrupted when Holder recognizes Kallie’s earring and realizes it’s her body on the stretcher right next to them. Soon after, Skinner’s wailing daughter barges into the morgue. Linden escapes the latter by going guns-blazing to St. George’s. Colonel Rayne knows Linden has no leg to stand on and accuses her of being an emotional woman. Linden goes to the SPD stock her arsenal, and Holder rattles off evidence that Philip Stansbury and Rayne were having an affair. Linden is ready to re-storm the castle, but their warrant has been denied. All jacked-up and nowhere to go, Linden storms Caroline’s office instead. Like Holder with Knopf’s mom, Linden is completely inappropriate—pretty much the last thing Holder needs after the “big deal” bust-up with his sister.
Back in the precinct parking lot, tensions are high as Holder tells Linden to slow her roll and stop ticking off people who can help them. Linden is in crisis mode (any crisis will do!) so she takes off. Holder gets out in time to see Danette Leeds, Kallie’s mom. Delusional as ever, she wants to see her daughter and say goodbye. Holder tries to kid-glove it, but she’s an uncomprehending wastoid who won’t take no for an answer. He finally crumbles under the pressure, mentions Kallie’s mangled face (or lack thereof), and grabs Danette’s arm to drag her inside. She resists, but it has to be one of Holder’s lowest points—and, between the addiction, drug-pushing to children, and bridge freak-outs, there have been many.
NEXT: Reddick drops a few truth bombs (read more at the source … )
EW.com – As implied by the episode’s title, we open with a dream. Kyle is overjoyed to see his 6-year-old sister Nadine in his dorm room. As if her night terrors have abated, she asks, “Are the monsters gone?” And then a trickle of blood slowly inches its way down her forehead. It’s no public stoning, but it’s pretty unnerving to behold.
Kyle flees to Col. Rayne’s house, where she’s doing a little late-night solo waltzing (not a euphemism). It remains unclear why the writers have chosen to layer Rayne with these frilly adornments: She bakes cakes! She will judge your office décor! She’s a foxtrot aficionado! Beyond injecting her very masculine-dominated life with an antidote of feminism, they certainly all seem to add up to a domestic life that Rayne will never have but allows herself in which to indulge in only the most intimate circumstances. And Kyle, with his sensitivity and love of the arts, seems to be presenting a simpatico relationship for her. It would be kind of beautiful in its sadness if it weren’t tinged with an underlying feeling of being fundamentally off.
Speaking of being fundamentally off, Lincoln Knopf finds himself in the midst of a street corner Q&A with Linden and a much-worse-for-the-wear Holder. Knopf is his usual charming, eloquent self, talking about Linda Stansbury’s short tennis skirts that “barely covered [her] snatch,” bragging about blowing animals’ heads off, and just generally being gross. After Knopf claims the gun he’d brought to school was in his room at his parents’ house, Holder went tit for tat with graphic tales about prison hazing rituals.
In Knopf’s bedroom, the partners find a soft-porn treasure trove of posters altered so that bikini babes’ eyes and mouths are covered in duct tape and or otherwise disfigured. If I were a detective on this case, my first question would be, Is he seeing anybody? After seeing Holder acts so erratically aggressively rude with Mrs. Knopf that she threatens to file a report, Linden confronts her partner: “Are you using again?” He jumps out of the car and visits a church. It would appear that not 24 hours after denying the existence of God, Holder is a man in need of something to believe in.
In case children bleeding from the head, tales of prison gang rape, and examples of the male gaze through an S&M-warped prism weren’t disturbing enough, Fielding gathers St. George’s new cadets for the annual Slap-Happy Sing-Along Day. In a brutal rite of passage, the boys are tasked with pairing up and each singing a line from a nursery rhyme then slapping the stuffing out of their partner. Despite the thrashing Kyle gave Knopf a few days back, he’s apparently reverted to his “incapable of violence” factory setting. When he asks to leave, then outright refuses to participate with Fielding (his superior), Kyle is reteamed with Knopf, who practically cracks his knuckles in anticipation. He sings line after line of the “Itsy Bitsy Spider,” pausing only briefly for Kyle to defer, before smacking Kyle. After a few rounds, Kyle is bawling, his right cheek welted from Knopf’s smacks. Humor me for a minute here: Is Kyle almost too innocent? Does it strike you as Primal Fear-level passivity. Given what we know about Kyle’s abusive family, his tendency to internalize his feelings, and his ability to deliver a beating when prompted, might he be the spider? Is he just rearing back before the strike (whether it’s unintentional or not)?
NEXT: A pair of lovely Linden-Holder exchanges (one in a gas-station bathroom, no less) (read more at the source … )
EW.com – One of the most effective parts of the Linden-Holder relationship is how they check each other. On the face of it, they are both incredibly selfish people with personal moral codes at cross-purposes. But, as “The Good Soldier” showed, there’s a complementary facet to their partnership. Just as one is about to fall into the abyss—as they each have been in more situations than really should be acceptable for law enforcement officers—the other regains composure and finds the strength to reel in his or her partner. Linden begins the episode at a breaking point, but she’s forced to pull it together by the end when Holder plummets toward rock bottom. In a strange way, Linden and Holder are one of the most functional dysfunctional partnerships on TV right now. All that and they have their own 1-900 numbers.
The episode begins with Linden quite nearly losing her mind—and everything along with it—when she is still staking out (or, let’s be honest, stalking) Bethany Skinner the next morning. In a haunting mirror of how Skinner himself followed Adrian in last season’s finale, Linden tails Bethany on her bike. Only Linden is gunning it, seemingly ready to plow down the teen and double her body count. Through sheer fortune or stupidity, Linden nearly gets T-boned in an intersection when she runs a stop sign. Bethany rides off with her earbuds plugged in, none the wiser. Linden is not a multiple murderer. Everybody wins?
When she meets with Holder a bit later, Linden is starting to get a handle on how far she’s sunk, and it’s scaring the hell out of her. Each potential slip-up (the missing shell casing, forgetting to check Skinner’s LoJack, knowing Kallie’s ring is still out there) is like a weight around her ankles, and Linden admits she’s “drowning.” For pathetic fallacy emphasis, it’s a delightfully torrential Seattle day outside. When Linden suggests they turn themselves in, Holder realizes he needs to take a step beyond playing it cool. He reveals Caroline’s pregnancy as a means of how much he has to lose. It’s a compelling argument, and so Linden heeds Holder’s command to “move on… and eat [her] f—in’ muffin.”
They attend the Stansburys’ funeral service, hoping in vain that Kat might be there. She’s not, but they manage to shake up Kyle enough so that he gives a fumbling, three-sentence eulogy that’s primarily about Nadine before it abruptly ends, “I guess some people think I did it.” He immediately regrets it, but Rayne comforts him because, as ever, she is way more invested than is appropriate.
After learning about Kat’s visit from Knopf, Rayne decides to call on Linden so she’ll do the dirty work of getting rid of the little street harlot. After Rayne insults the state of Linden’s office, the ladies have a conversation in which Rayne basically says women are the worst, and Linden’s like, “I wouldn’t know; I don’t do small talk… you’re not gone yet?”
NEXT: Linda Stansbury gets a Lifetime movie-worthy backstory (read more at the source … )
EW.com – In direct opposition to the season 4 premiere’s slow-burn pacing, “Unraveling” opens with a literal bang. And unraveling Sarah is. She and Holder pay a visit to the lab, where frequent gunshots and blood-red-paint-splattering dummies prove incredibly unsettling for the guilty Linden. She certainly can’t offset her nerves with any solid leads in the case. Testing proved that Kyle was on his knees, which could mean he was under the gun or offering himself up in penance. Either way, the lab guy calls it a “scientifically unique situation”—perhaps the best euphemism for f—in’ grisly bloodbath I’ve heard in a long time. Linden is so visibly disturbed, she has to leave abruptly. Holder follows her to the restroom and tells her to get it together. She explains that it’s pretty difficult considering she’s got her dead lover’s daughter harassing her. She conveniently (or, more likely, consciously) leaves out the bit about Bethany wearing Kallie’s ring, so Holder assures her it’s nothing. When another shot blasts, Linden’s visibly shaken demeanor and her second jittery exit of the morning disprove Holder.
Back at St. George’s, Rayne tries to keep control of her flock, using a surprisingly tone-deaf family metaphor considering the circumstances. Outside, Kyle stares at the flag of St. George slaying the dragon, and it’s clear that no one—not even Kyle himself—knows which of the two he is. To wit, one cadet brazenly asks in front of the assembly: “Ma’am, didn’t he do it, ma’am?” And the despicable Knopf walks out with a cig in his mouth and snarks that 6-year-old Nadine “got it right in the face. Too bad, she was going to be one fine piece of p—y one day.” Given the smoke plumes rising from Knopf’s mouth, maybe it is clear where Kyle falls in the saint-versus-dragon equation. At least for now.
Over at the SPD, Linden and Holder listen to the 911 call placed by the Stansburys’ neighbor Emmett Deschler. When they visit Deschler, he’s the kind of weirdo who nonchalantly cops to “eschew[ing] formal engagements and social gatherings,” and who philosophizes, “My home is my camera obscura. I believe that pain and suffering is true art. … Happiness creates a laziness that allows us to forget, but pain teaches us a lesson, which forces us to grow.” Pro tip, EmDesch: Don’t say weird crap like that to homicide cops. Perhaps too preoccupied by her own dramas, or maybe just unfazed by this kind of talk, Linden moves right along, which is hilarious on its own. Bonus points to Holder, who gets in a Velvet Elvis shout-out. (He doesn’t know art, but he knows what he likes, amirite?)
There are some unusual aspects of Deschler’s story, like the 5 a.m. time and his calm tone in his 911 call, but his statement does lead the detectives to the Stansburys’ beach house, just below the main house (and the site of the murder). A housekeeper who lets them in notes the family’s remarkable neatness, saying eerily, “It’s like nobody lived here, only ghosts.” Well, judging by a bag of clothes found in the beach house, ghosts and a baby hooker.
The partners revisit Phoebe’s room to check the clothes in the bag against the ones in her closet—they don’t match. More importantly, they find a stash of sexy, half-naked photos she’s hidden in the back of a frame. Linden quickly figures out the angle from which they were taken and, lo and behold, it visually traces right back to Deschler’s place. They return to Deschler’s home, where he ups the creep factor to 11 as he quivers about his “special” relationship with Phoebe. Holder subdues him while Linden stumbles upon a room wallpapered with pervalicious pictures of Phoebe in various states of Lolita. It’s pretty clear that Deschler will turn out to be a run-of-the-mill pedophiliac voyeur, but it’s certainly effective while it lasts.
NEXT: Holder explores new frontiers of sexual innuendo (read more at the source … )
EW.com – Season 4 begins with 15 minutes (a.k.a. a quarter of the premiere’s run time) devoted to Linden and Holder dealing with the aftermath of Linden’s decision to kill Skinner, her boss and former lover… who also happened to be a psychotic serial killer. In her pristinely white bathroom, Linden scrubs and stares at her bloodied hands, then takes a long, hard look at herself in the mirror and finds that she’s obscured by a fog of steam more hellish than cleansing. As she purges herself (or, more specifically, her bloody clothes) in the fire, Holder approaches. He witnessed Linden’s fait accompli and, being a recovering junkie accustomed to lying, immediately sets a cover-up plan in motion.
But, this was no clean, clinical dispatch. It was a crime of passion, a murder. Unlike James “Pied Piper” Skinner himself, Linden is no calculated killer. Heck, even street-hardened Holder isn’t really. So, despite the many, repeated conversations they have to nail down every last detail, there’s bound to be incriminating evidence scattered to the wind—and, perhaps most damning, emotional repercussions. But for now, they panic at what’s visible to the naked eye: a splatter of blood on Holder’s coat. No, this would not be as cut-and-dried as they hoped.
No surprise, then, when Linden makes the mistake of awkwardly smiling at Holder’s ex-partner Carl Reddick, the ornery hobgoblin of the Seattle PD is immediately—if casually—suspicious. Holder struggles to maintain his casual demeanor as Reddick peppers him with brass-tacks questions about his and Linden’s whereabouts the night before and other details of the case. Meanwhile, Linden firmly assures a young boy named Adrian, the Piper’s sole living witness, that justice has been served… she just pins it on presumed Piper (and legitimate slimeball) Joe Mills to divert attention from Skinner. Adrian seems convinced, but the Reddick dilemma is poised to linger like a bad smell.
Holder and Linden both return home to rest, but rest is not in the cards. While Holder’s silent anguish stands in stark contrast to his girlfriend Caroline’s groggy sweetness, Linden lays down only to remember with a start that she and Skinner had sex the day before. To the drug store she goes. But that’s a tangible consequence, one that can be addressed with a pill or a doctor’s visit. More gnawing—and more responsible for Linden’s absolutely haggard appearance—are the psychological ripples of her actions. To wit, when the partners return to the office, Linden is confronted by the pictures of the very girls she betrayed by killing Skinner. Her justice comes at the price of theirs.
NEXT: A new case begins (read more at the source … )
VIEW: The Killing: Episode Stills > Season Four: Stills (2014) > 4.01 – Blood in the Water
VIEW: The Killing: Screen Captures > Season Four: Screencaps (2014) > 4.01 – Blood in the Water
It all comes down to this: the fourth and final season of the critically acclaimed crime thriller is a six-episode Netflix original that wraps up loose ends and reveals long-buried secrets.
Detectives Linden and Holder return to investigate both a gruesome mass slaying that exposes a dark family history, as well as a mysterious disappearance within the ranks of their own Seattle Police Department.