I was really hoping for a proper, tense showdown between Mills and Kallie’s mom after last week’s cliffhanger. Alas, we cut straight to the SPD, where Ms. Leeds marched in soaking wet and started babbling like some methed-out crazyface. Needless to say, the world-weary front desk officer was not picking up what she was putting down. Her frustration over not getting someone to immediately find her daughter (you know, since she’s cared about Kallie for a whole five minutes now) led to a full-on tantrum – and her arrest.
This week began with another one of The Killing’s famously elliptical opening sequences. A young guy was driving down a pitch-dark, secluded road late in the night when a blood-covered teen girl ran out in front of him. She looked a bit like Kallie, but all we see was a single, terrified blue eye in the headlights before he hit her. The driver spun out, then stopped and stepped out of the car to help. After lying there for half a minute or so, the girl jumped up like some grim combination of a superhuman and a terrified animal before fleeing to the woods.
After discovering Kallie was the latest star in the local sex tape racket, Holder and Linden called in Bullet to watch in hopes that she might have some ideas. She flinched when they asked her to confirm whether Goldie was the disembodied voice. She did offer one clue, saying she’d given it Kallie a blue ring she was wearing in the video just three days before. With a timeline taking shape, Holder and Linden secured a search warrant for the 7 Star Motel, where Kallie was last seen.
We pick back up where the premiere left off as Linden stares silently at the bog o’ bodies. Sirens pierced the stillness as Holder, Skinner, and a fleet of policemen arrived. Linden shut down Holder’s territorial whining before showing Skinner Adrian’s latest drawing, which led her to this watery grave. As Skinner headed back to town, Holder stood next to Linden and quietly smirked, “Looks like you found the Seward file.”
Like Rosie Larsen, The Killing was dead in the water a little less than a year ago. But if two seasons of plodding sturm und drang have taught us anything, it’s that you can’t keep a good Holder down. So, as season 3’s two-hour premiere began, the recovering addict had cleaned up in every sense of the word: He was practically mainlining milk, he’d outfitted himself in a smart three-piece suit and a natty trench coat, and he was shooting for sergeant status.
When mask-wearing maniacs interrupt the reunion of a bickering family in the horror comedy You’re Next, the cups of genre fans will runneth over…with blood. ”There’s tons of blood,” explains Amy Seimetz, 31, who plays a member of the cornered clan. ”Lots and lots of blood. But our family really brings out the worst in each other, so when this set of circumstances befalls them, you kind of want it to happen.” Seimetz can also be seen this summer on AMC’s The Killing and Christopher Guest’s HBO comedy Family Tree.
Before he blew moviegoers’ minds with 2001: A Space Odyssey, A Clockwork Orange, and The Shining, Stanley Kubrick cut his teeth on The Killing (1956, Not Rated, 1 hr., 25 mins.) — a down-and-dirty heist film now out on a dazzlingly crisp and spotless Criterion Blu-ray.
Timothy Olyphant. Louis C.K. Martha Plimpton. Peter Dinklage. When it comes to this year’s Emmy nominations, these surprising — and much-deserved — nominations alone should be enough to leave TV fans feeling a little bit gleeful. Even Gleeks can get in on the act, with noms for best comedy and Chris Colfer. ”There were rumors that I might get nominated again, but I was thinking I wouldn’t,” Glee’s Colfer, a contender last year, told EW after the list was announced July 14.
All about style and victory, greed and speed, horse racing cuts to the core of the American spirit. And no single day of racing is more important than the first Saturday in May, the date of the Kentucky Derby. But since the much-anticipated race lasts only about two minutes, Derby-watchers could use a little more equestrian entertainment for racing fulfillment on Derby Day. Here, then, are the movies about racing that we see as sure bets.
I’m an absolute sap for anything film noir. If I come across a black-and-white movie late at night with a tough guy in a fedora and a femme fatale with luscious gams, bowling pins, or getaway sticks, I’m as good as hooked. I’m not particularly discerning, either. Any old movie with a heist scene, double cross, or volley of hardboiled patter is a masterpiece in my book.
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