This week Revolution delivered viewers what very well may be the best episode of the series yet. It was an episode that revealed how our characters act under the pressure of impossible choices and featured a series of flashbacks that may be the show’s most heartbreaking and relatable thus far.
The episode, titled “Sex and Drugs,” starts with Nora unconscious – the knife cut from her tussle with Hutch in Noblesville has turned life-threatening as it’s become infected. Miles steals a horse carriage and, with Charlie and Aaron also aboard, takes Nora to the nearest place he knows he can find help. It’s a white mansion, lined with poppies beyond its fence. There we meet the man in power in the house, Drexel, whose idea of “fun and games” is to force Miles to his knees at gunpoint, count to three, and declare it all a joke just when you thought he was going to pull the trigger.
Miles’ one-time acquaintance is played by Todd Stashwick, whom you may recognize from Supernatural’s “Monster Movie” episode or from Maxwell House Coffee commercials. But know that his character in Revolution is in a whole other league of villain from his Supernatural Dracula and his advertising enemy of the French press.
Drexel does welcome Miles, Charlie, Aaron and a still unconscious Nora into his home, and the in-house doctor does save Nora, with the help of a blood transfusion from Miles, who grips the hand of his ex-lover tightly as his O negative blood transfers over to her. But as soon as the gang is about to head out (Nora still unconscious but taken care of), things take a turn. Drexel reveals that he knew Miles when he was a general in Monroe’s militia.
“He would order men in front of a firing squad the way you and I would order a beer,” Drexel says, all the while recounting brief memories of Miles with an off-putting casualness and levity – again, like this is all just “fun and games.”
Turns out Drex isn’t too pleased with the former militia general – Drex once had quite the good thing going with Miles. Miles would eliminate Drex’s competition in exchange for gold. But when Miles went rogue, Drex’s position of power went with him.
In a flashback to the night of the blackout, we see Aaron with his wife, Priscilla (Maureen Sebastian), in a limo. It’s their anniversary. They’re just beginning a romantic getaway, but the blackout hits before they can get out of town. Later, we see Aaron helpless to save his wife from an illness in a land with no medicine. She’s picked up a disease by drinking unsanitary lake water. It’s a stranger they meet on the road, not her husband, who knows how to help her. Then later again, we see Aaron, struggling to light a fire. He’s frustrated and ashamed – as an uber-wealthy Google exec, he once was able to give his wife everything. Now he can’t do anything for her. But Priscilla stays by his side, telling him that he is the only thing that matters to her.
Back in the present, Drexel is about to declare the cruel way he wants to get even with Miles. There’s an Irish family up the road, who burned most of his poppies (yes, he uses them to make heroin) on what Drexel claims was a drunken rampage through his fields. Where the getting even part comes in is Drexel orders Charlie – no, Miles it can’t be you, it has to be Charlie – to go kill the patriarch of that Irish family, Bill O’Halleran. And if she doesn’t do the murderous deed, Drex will kill the whole gang, starting by “smothering Latina Barbie.”
NEXT PAGE: Decisions, decisions