![]() ![]() When sense memories don’t do the trick, Sally delivers Kristen’s monologue to her face before spinning around and finishing those sentences directly to Heder. Sally’s acting-class teardown of Kristen (Ellyn James) in last week’s episode didn’t end her career it got her an invite to the set of franchise blockbuster “Mega Girls.” (It’s probably not a coincidence that Kristen’s costume is just as much Queen Maeve from “The Boys” as it is anything from a movie set on Themyscira.) When Kristen goes up on her lines during the monologue that sent her to Sally in the first place, her new instructor steps in with some… unconventional shows of support. ![]() MCU parodies are plentiful in the comedy world these days and, while Taofik Kolade’s script does add the specific angle of the “indie director to franchise behemoth” conveyor belt, the scope of this fake project is more designed to put Sally’s last-ditch efforts in full context. For the second time in as many weeks, “Barry” calls on a Best Picture director, this time enlisting Sian Heder (“CODA”) for another round of pointing fingers at the industry from the inside. Sally’s (Sarah Goldberg) also gets everything she wants while underestimating the physical and psychological price. (It’s a subtle and brutal costume design choice to put Andrei’s henchman in an outfit just similar enough to Cristobal’s so that, for a second, it seems like everyone’s avoided disaster.) The front door closes and, in the span of just a few minutes, both men meet a fate worse than drowning in construction-grade silicate. ![]() It ends with Hank sobbing, drowning out the sound of gunshots right outside. That last Hank/Cristobal fight is vicious for the speed at which the two diverge before one of them even realizes it. Andrei puts just as much, if not more, genuine belief in saying that Hank and Cristobal love each other than Hank does in saying “I love you” as an attempt to get Cristobal to stay. Once again, “Barry” Season 4 underlines one of its themes: Love used in desperation can be a nasty weapon all its own. Michael Irby in “Barry” Merrick Morton/HBO Whether or not Cristobal shares that same realization, it ends in goodbye, then tragedy. When that doesn’t work, Hank faces the panicked realization that Cristobal isn’t just walking out on their partnership but walking to his death. When Cristobal tries to leave, Hank does his best to manipulate Cristobal into staying. Hank has gone Full Barry, morphing from deeply flawed and outwardly amiable to fully embracing the mindset that shows of strength trump all. By the time they’re back at their place, hosting Andrei (Michael Ironside) and his crew, things have shattered. He doesn’t even get enough time to wash the sand off his face before finding out that Hank was an orchestrator of the group hit. Sensing an imminent threat from Barry, Hank makes a covert deal with his old Chechen colleagues to swap his current ragtag band of karaoke-loving henchmen for protection and control over the LA smuggling operation.Ĭristobal manages to survive his accidental inclusion in that plan, but his rescue only leads to more problems. Carrigan’s always been so precise in showing the vacant stare of someone who knows trouble is on the horizon. In a panic attack-inducing bit of camera movement, sound design, and sensory deprivation, Cristobal gets caught with them.Įven before that sequence, Hank’s eyes show that something has changed. A selfies-and-sand-angels session devolves into a mass execution once Hank flips the switch and sends all of the Bong support team to suffocate inside the product they were hired to protect. ![]() ( For a while, in New Mexico, it seemed like they already had.) But one fateful trip to the top of their newly acquired sand silo alters the prospects of their shared business and their shared lives. It seemed like they might be the two people who escape the Barry ( Bill Hader) vortex with their lives and dreams intact. “Barry” has been slowly deconstructing the idea of a partnership - Hank (Anthony Carrigan) and Cristobal (Michael Irby) are the latest in a line of self-delusional betrayals by people who endanger some of their most prized relationships out of ignorance, or arrogance, or a fundamental misunderstanding of what ties them to each other. ‘The Crown’ Season 6, Part 1 Marks a Morbid, Ghastly Beginning of the End ![]()
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