Mostly I’ll just be playing “It’s Over” by Roy Orbison - the song that played on top of this week’s credits - on a loop, ruminating on how this all might end and steeling myself to say goodbye to this show forever.Fiction writer Victor LaValle joins co-hosts V.V. What I’ll Be Thinking About Until Next Week: What we do know is that we’re about to witness a clash more epic than the Battle of Winterfell. (And if she does, why has she sat on it for this long?) In all their years together, might this have come up again? Maybe Celeste knows more about that tragedy than Mary Louise realizes? Somewhere between the cocktails and the moony eyes, Perry told Celeste he lost a brother when he was very young. We know from a flashback in Episode 2 that Perry and Celeste went straight to the deep stuff on what appeared to be a first date. This can mean only that Celeste has some table-turning knowledge up her sleeve. And she would also like to do the questioning. She tells the judge that while her parental fitness has been questioned, her mother-in-law’s has not, and she would like it to be. In the final seconds of this episode, Celeste stands up for herself, literally, against Mary Louise’s Farber-cloaked attacks. But it is, quite suddenly, a far less pressing question than what’s about to come to light about Mary Louise. We still don’t know if any of this truth about Perry’s death will ever come to light. “When I lunged at him, I was pushing you.” “I resent you for killing a man,” Bonnie professes through sobs. It was the result of years of enduring the great pain of being her mother’s daughter. Because to Bonnie, Perry’s death didn’t happen in a vacuum. So confess she does, but to her semiconscious mother, and about much more than Perry. It becomes suddenly far less scandalous than Celeste’s “sickness.” The violence she inflicted, the pleasure she derived from being hit, her recent promiscuity, her pill popping: Farber paints it all into a picture he might title “A Deeply Sick Woman Who Should Be Nowhere Near Children.”įor Bonnie, it’s palpable how much a confession of the killing would bring her back to life. Perry’s abuse sort of flies away in the breeze.
Ira Farber (Denis O’Hare), with a matter-of-fact ease, forces Celeste to answer to her entire recent sexual history. She sticks to the script - he slipped - while Bonnie is left fantasizing about confessing right there in front of everyone.īut what happens before that is a scene that feels as if it will launch 1,000 feminist think pieces, which I’m voracious for. As predicted, she is questioned about the circumstances surrounding Perry’s death. The eye of the storm comes in the courtroom where the war for Max and Josh is being waged. (Kapow!) And she correctly suspects her intentions with that gun. (Boom!) She’s been having Celeste followed. In Episode 6, we’re hit with some realizations that feel like lightning strikes: Mary Louise has been combing interview footage of Celeste alongside Detective Quinlan. The entirety of Season 2 has been under a hurricane warning, and that storm is Hurricane Mary Louise.
#LETTERS FROM NOWHERE 2 EPISODE 15 SERIES#
If you make a limited series television show and wrap its finale in a decent bow, but then rabid enthusiasm for the show leads you to make a second season - yet you feel pretty certain you absolutely will not make a third season - well, then the penultimate episode of the actual last season is the perfect place to drop a monster cliffhanger.
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