FOLLOWING “THE SON” ON AMC: “MARRIAGE BOND” by Joe Leydon • May 13, 2017
Photography: Ryan Green/AMC
Maria and Pete are drawn together in a time of crisis.
We’re offering a list of five takeaways from every episode of The Son aired during the drama’s premiere season on AMC. Warning: There will be spoilers a-plenty in each of these overviews. Here are five takeaways from Episode 107, “Marriage Bond.”
Takeaway No. 1
OK, we knew this was going to happen sooner or later, right? They tried to delay the inevitable for as long as possible, and kept on slow-burning it through the first six episodes. Hell, they even kept us waiting until near the very end of this episode. But at long last, Pete and Maria owed up to their barely contained passion for each other, and got busy just before the closing credits. For the time being, they seem to be very happy. For the time being.
Takeaway No. 2
Heaven knows Pete needed some serious cheering up. Before the, ahem, climax of this week’s episode, he learned that (a) the racist vigilantes of the Law & Order League lynched Ramon, (b) other vaqueros (including some longtime employees) want to quit their McCullough Ranch jobs to avoid similar fates, and (c) Charles, Pete’s impressionable son, was lured into being an unwilling participant in the murder by the dastardly Niles, the Law and Order League ringleader. Pete figured it was a good idea to get Charles and his sister Jeannie out the area for a while, so he drove them to the McCullough House in Austin, where Sally has been staying with the recuperating Jonas. More bad news: Sally viewed Charles’ complicity in the crime as yet another sign that the McCullough Ranch is a bad environment in which to be raising a family — so she once again suggested that they move away from the place. (Charles, she warns, is “surrounded by men who think there’s glory in violence.") Pete makes a counter-offer — he will return to the ranch while she and their three children remain in Austin — that Sally reluctantly accepts. For the time being.
Takeaway No. 3
Naturally, this arrangement left Pete conveniently alone in the final scene. But Maria didn’t have a very pleasant build-up to the lovemaking, either. Not only did the beautiful widow have to deal with her mom’s nagging about finding a new husband. (A complicating factor: Maria revealed to Pete that, technically speaking, she might not actually be a widow.) She also had a very unpleasant encounter in town with the slimy but smooth-talking Niles, who has been posting Law & Order League flyers encouraging white folks to “Protect Our Land from the Mexican Menace.” When she accused him of being responsible for Ramon’s death, Niles pointedly reminded Maria that “her people,” much like his people, massacred Indians to claim land in the area. The only difference between them, as he sees it: “You have risen higher on the backs of the oppressed than I.”
Takeaway No. 4
Eli kept a relatively low profile in Episode 107, but he did agree with Pete that Niles, despite his temporary value as a necessary evil, will have to be neutralized at some point. (“Accounts will be balanced.”) Maybe that explains why, during Pete’s absence, Eli loaded up his truck with cash and guns and drove off somewhere under cover of night. On the other hand, maybe this means Eli is plotting something more sinister — something to do with claiming the oil he discovered on Pedro Garcia’s property. Meanwhile, off in Austin, Phineas did his best to brighten the spirits of his sister-in-law Sally by taking her out to dinner, and then to his favorite Austin gay bar for a nightcap. (The latter scene could have come off as offensive or absurd, but co-stars Jess Weixler and David Wilson Barnes helped make it charming and amusing.) After they returned to the McCullough House, however, Phineas revealed a different side during a conversation with the guilt-stricken Charles: Way back when he and Charles’ dad were youngsters, they helped Eli track down, and summarily hang, cattle rustlers. Yes, Pete actually shot a man when he was 12. But Phineas suggested that his own hands are similarly bloody. So if Eli is planning some sort of land grab, well, maybe Phineas will be offering more than just business advice?
Takeaway No. 5
Time-warp to 1850: Young Eli, a.k.a. Pathetic White Boy, tended to Ingrid after the captured white girl attempted suicide — and promptly sparked jealousy in Prairie Flower. At the suggestion of Toshaway, PW-Boy set out to win the favor of Prairie Flower’s father (and get out of the doghouse with Prairie Flower) by killing a deer and offering the old guy some meat for his family. And that, not surprisingly, enraged Charges the Enemy, who views Prairie Flower as his bride-to-be. The romantic revivals had a face-off in the woods that was interrupted when they heard wild horses nearby. But when PW-Boy was distracted by the livestock, Charges the Enemy shoved him off a cliff. Now, of course, this can’t be the end of Young Eli — otherwise, there wouldn’t be an Old Eli. But it does set things up for a violent payback, doesn’t it?
Last Edit: May 15, 2017 23:05:11 GMT -5 by eaz35173
The Son takes a breath in the aftermath of a hanging party. Here is our review of Marriage Bond. The Son Episode 7
The Son season 1, episode 7, “Marriage Bond,” is a more introspective offering from the Wild West series. Set after a lethal crime that followed a murderous crime, the First Son of Texas and his apparent heir want to stop the cycle of death that is eating away at their home. The family is as divided as the Texas border town and the historical arc corresponds with what looks like the promise of unity.
Eli McCullough (Pierce Brosnan) has come a long way, on a hard road, and slept on an even harder mattress. Raised in the wild, he is as ruthless a businessman as he is a pioneer frontiersman. He is notoriously violent, and it would appear that he is also given to the area’s prejudicial hangings. He is not. It is only somewhat of a surprise. His son Pete McCullough (Henry Garrett) comes to him to help mend the broken fences. He gets no resistance from the proud first son of Texas. A Mexican neighbor, a personal enemy to the family themselves, is dead from a vigilante mob’s rope, and the generations agree that accounts will be balanced.
Pete is worried about how this is being passed through to the next generation. He learned about the lynching from ranch-hands while they are giving him notice. He fully understands, more than they know. They fill in the missing link he needs to break. His son was late, drunk and hiding something when he came home, and that is a lot to swallow. Garret flashes the entire understanding in a skillfully underplayed moment and a half. His son Charles is in agony, and Shane Graham plays him with barely contained restraint. His face looks like it could pop any moment, but he holds it like he’s holding his breath under water. He’d better, or his sister Jeannie McCullough (Sydney Lucas), will tar his feathers.
No family dynamic is complete without dysfunction. Pete and Sally’s (Jess Weixler) marriage is breaking under the rustic weight of the dynastic family home with so many bodies buried around it. She escapes to the city of Austin, which is much more forgiving. There is some obvious flirtation, and longing for the more stable, confident brother. Phineas says he’s not confident, but he’s brave enough to take her to the more risqué parts of town. Gay bars in early turn of the century Texas? Life is a cabaret in the big city. Sally makes a complete fool of herself, and the plainly progressive Phineas loves her for it. Pete is a little bit jealous when he first hits the city, but he’s probably feeling his own guilt.
Young Eli is dealing with his own guilt. The young woman he forced into slavery wants to kill herself, and Prairie Flower (Elizabeth Frances) thinks that might be such a bad idea. Times are tough in the 1850 Texas Panhandle. Times are always tough. They are also always equally complicated and simple. Pathetic White Boy can make a play for marriage against rising warrior Charges The Enemy (Tatanka Means), and even get the full support of the chief, Toshaway (Zahn McClarnon), but can he really get the white girl Dirty Hair out of his guilt.
The scene where Charges the Enemy and Eli are about to throw down, but opt to go after horses, is one example of why I like the flashbacks over the more modern setting. There are three little surprises in a row in that scene, but the middle surprise, is that no personal battle comes before a good hunt. Or at least in that moment. They could toss aside their rivalry to work together. But Charges the Enemy cuts the treacle superbly. I’m not sure if I’m supposed to feel sorry for Eli, but it’s more fun to giggle as he tumbles over into the wild horses. Chief’s pet Pathetic White Boy does start to make good on his down payment on Prairie Flower and the game continues.
The most informative scenes on The Son are played out in silence. The music and looks tell the story. When María García (Paola Núñez) is defiant in the face of the Law and Order League, there are no spoken threats. The threat comes in silently from behind as the league closes rank. We get the feeling that Pete and Maria would close ranks from the moment we learned about trouble on the homefront.
“Marriage Bond” reveals a lot. The expanse of the McCullough dynasty looks vast under the classically focused cameras. But it is much smaller than it used to be. The Son is bigger tonight when the cameras are intimate. The episode is unrushed, but leaves us with a feeling that gun has just been cocked.
“Marriage Bond” was written by Kevin Murphy and Julia Ruchman, and directed by Jeremy Webb.
FOLLOWING “THE SON” ON AMC: “HONEY HUNT” by Joe Leydon • May 20, 2017
Eli brings Phineas in on a dangerous secret.
We’re offering a list of five takeaways from every episode of The Son aired during the drama’s premiere season on AMC. Warning: There will be spoilers a-plenty in each of these overviews. Here are five takeaways from Episode 108, “Honey Hunt.”
Takeaway No. 1
In playwriting — and screenwriting — they call it The Law of Chekhov’s Gun: You don’t introduce a firearm in Act I unless you plan on firing it in Act III. Remember a couple weeks back when Eli told Jeannie about the time Apaches killed his wife and child while he was away on business? And how he and his men killed almost everyone in the tribe responsible for the attack, except for a boy who earned Eli’s respect? Well, that boy grew up to be the father of a daughter who grew up to be — well, a woman with a serious grudge against Eli. Meet Lena (Sara Tomiko), one of the prostitutes hired to serve more or less as party favors for the guests at an overnight hunting party thrown by the shamelessly corrupt Judge Thaddeus Kilborne (Adrian Sparks). Eli just happened to be one of those guests, but Lena didn’t do him any favors when she tracked him down to a secluded spot in the moonlit woods, and shot him. It was touch and go for Eli after that, and he came close enough to dying to fantasize about meeting Young Eli and being helped onto a horse that would bring him to The Happy Hunting Ground. But Phineas found his wounded dad just in time to call for help. When we last saw Eli in this episode, he was patched up and ready to be driven home. It should be noted, though, that he declined to identify who shot him. Maybe he thought he had it coming?
Takeaway No. 2
Except for that, Eli and Phineas, how did you enjoy the hunting party? Very much, as it turned out, because Phineas convinced Judge Kilborne to accept a sizable bribe in exchange for some crooked paper-pushing and document-altering that will relieve Pedro Garcia of his property — and allow Eli to claim the site where he discovered oil. But wait, there’s more: During the titular “Honey Hunt,” when party guests were encouraged to interact with the lovely party favors, Phineas had a close encounter with a “soiled dove” eager to service his, ahem, needs. Yes, Phineas is still very seriously gay. But he was too polite to refuse the woman’s offer of servicing. “Your ambition does you credit, ma’am,” he told her. “You just relax,” she replied, “and pretend I’m someone else.” And that’s just what he did.
Takeaway No. 3
And speaking of Pedro Garcia: The proud paterfamilias paid a visit to the McCullough family home on the morning after his daughter Maria spent the night there with Pete. Pedro didn’t know for sure that Pete and Maria had engaged in spirited lovemaking from dusk till dawn. Being a reasonably sentient individual, however, he figured it was safe to guess they’d done a lot more than chat about old times. Pete insisted that, oh, no, Maria hadn’t been there, that he was a happily married man, that… Pedro didn’t buy a word of it. And he warned Pete: This time, he’d left his gun out in his car. “Next time I come,” Pedro said, “it will be in my hand.” Could this be another example of Chekhovian presaging?
Takeaway No. 4
Young Eli — a.k.a Pathetic White Boy — may have loomed large in Old Eli’s fantasy, but he was nowhere to be seen this week during the scenes set back in 1850. Maybe he’s still lying at the bottom of the canyon after Charges the Enemy pushed him off that cliff last week? Whatever the reason, his absence served Charges the Enemy well. He returned to the Comanche camp with the wild horses he needed to give Prairie Flower’s adopted father as payment for, well, Prairie Flower. What happened to Pathetic White Boy? According to Charles in Charge… er, Charging the Enemy, he allowed PW-Boy to escape and return to his paleface brethren because PW-Boy let him keep all the pretty horses. Toshaway found it difficult to believe Young Eli had skedaddled — or maybe he just didn’t want to believe it — but he raised no objections to the union of Charging the Enemy and Prairie Flower. Prairie Flower herselfy had quite a few objections, but wound up agreeing to the marriage to fulfill her duty to her adoptive father. Of course, if and when Young Eli makes his way back to camp…
Takeaway No. 5
When Pete and Maria weren’t busy doing the wild thing, they really did talk about old times. Maria revealed that she’s not a widow – rather, her husband abandoned her in New York because Maria couldn’t bear a child for him, leaving her no place to go but back home. Pete offered to run away with her, explaining that he’s unattached now that Sally and their children have moved away to Austin. But Maria rejected the proposal — “I’m not running off with a married man!” — and that’s probably just as well, since Pete indicated he would finance their flight with money Eli keeps stashed away in his home office safe. That money, unfortunately, is no longer there. Judge Kilborne has it now.
The Son Episode 8 Review: Honey Hunt A loaded gun goes off in the woods on The Son as the McCulloughs go on a Honey Hunt.
The Son Episode 8
The Son season 1, episode 8, “Honey Hunt,” brings the battles home. The series has been getting more intimate as the real estate deals moves on and the dual arcs continue to inform each other. Tonight the tribes from the 1850s and 1910s explore spirit and sex, love and death.
The Son introduces humor, low-key, but good-naturedly bad intentioned asides between Phineas and the Judge. Confronted with the dilemma of sabotaging the Garcia’s pristine tax payments, the Judge bemoans how much money does one man need. Here he is, a landowner with a tract of grass the size of Delaware and yet, the very scent of money keeps him wanting more. Phineas, who has already underplayed quips with a mirthful glint in his eye, matter-of-factly says “I’ll take that as a yes.”
It’s not that Phineas is a yes man, but he is always ready to please, if not always eager to be pleased. The title refers to Thaddeus Kilborne’s Third Annual Honey Hunt, which is a euphemism for an outdoor sex club, where the most affluent men in Austin sit in wait while a wagon full of escorts stalk with picnic baskets of goodies. Eli McCullough’s son is game, but only barely. His father promoted him as a great cocksman. Phineas prefers men and there is a very quick exchange between father and son which gives the impression that the old man knows, and is good with his son’s life choices. Eli comes across as a man’s man, but he knows there are many ways that boys will be boys.
Pete McCullough (Henry Garrett) had his fun growing up. When his old man, the “Colonel,” took him to a whorehouse at age fourteen, he acted like a fourteen year old at a whorehouse. He’s been pretty good since then. He was faithful to Maria, until he got married to Sally (Jess Weixler), and then he was only unfaithful to Sally with Maria. But he was always unfaithful to Sally with Maria. She is the true love of Pete’s life, and he was never free to give that to Sally. But at least he gave her kids.
María García (Paola Núñez) hasn’t been so lucky. She can’t have kids. While that destroyed her first marriage, to a guy who married the first woman he laid eyes on after hearing the news, Pete doesn’t care. He’s been waiting for this since forever and wants to get on with it. He cooks, cleans, plans the perfect ad hoc romantic hideaway date and is all in, as Luke used to say on Gilmore girls. Of course, it’s the hideaway part that most pains Maria.
The way they play against each other is moving and the dark lighting makes it all so much more intimate. Pete is the enthusiastic puppy dog, willing to run off and be some anonymous ranch hand with her in a new beginning. Maria is rueful, sad and uncertain. This is sexier on her than the constantly off-the-shoulder thing she’s got going consistently through the weekend. There is a depth to her longing that comes from a long denied desire just to be what she always knew she was supposed to be. The long rings of disappointment bind her to the floor as he gives her all the usual early promises. His wife doesn’t understand him. It’s over. We can do this. Do you have to put a gun to Pete’s head to get it through his thick skull they’re both in shock?
Pierce Brosnan, the actor, is clearly having an internal ball tonight. Eli McCullough is resigned, but resilient, and he never loses that flash of curiosity and adventure. Hey, what would happen if he got on that horse with the pathetic white boy he used to be? It probably wouldn’t make up for old sins, but Eli is perfectly willing to let bygones be bygones. Confronted with his own past cast as a Lepan Apache femme fatale, he surrenders himself, because it is part of an adventure.
Being raised a brave made young Tiehteti a lifelong adrenaline addict. Maybe he ran, and maybe he was chased, but he went at break neck speed and is only slowing down now as the First Son of Texas. An elder statesman with more blood on his hands than there might be oil under his land. He’s good with that, though. He enjoys a spirituality born of animals and soil.
Meeting his younger self is a spiritual ritual, as important as any rite of passage. Eli accepts his fate. He earned it the old fashioned way. The young brave is done with those old fashioned ways. Forever locked in a past that he himself ensured would be the past, the old man he grows up into has a lot of explaining to do. That pathetic white boy wasn’t a slave to the Comanches, he was being groomed, though not as a groom. Prairie Flower (Elizabeth Frances) his wannabe wife becomes a runaway bride. In Comanche currency, the slave Eli is worth about a newly broken horse. Not quite groomed, but ready to ride. Far more predictable than what they’ll expect when young Tiehteti rides back. The old man is a loaded gun waiting to go off in a world better off without him.
“Honey Hunt” was written by Daniel C. Connolly, and directed by John David Coles.
FOLLOWING “THE SON” ON AMC: “THE PROPHECY” by Joe Leydon • June 3, 2017
Phineas finds himself at odds with his father when Eli has second thoughts about his land-grab scheme.
We’re offering a list of five takeaways from every episode of The Son aired during the drama’s premiere season on AMC. Warning: There will be spoilers a-plenty in each of these overviews. Here are five takeaways from Episode 109, “The Prophecy.”
Takeaway No. 1
Near the start of “The Prophecy” — the second-to-last episode of Season 1 — we first see Pete and Maria lying side-by-side on a blanket in the grass somewhere, totally blissful in each other’s company. Of course, on a show like The Son, people never get to stay that happy for very long, do they? Sure enough: After Maria gets home, her father Pedro reminds her that the McCullough clan — yes, including Pete — has been responsible for the deaths of many Mexicans over the years. (Remember what we told you about the Law of Chekhov’s Gun last week? Well, this likely was a cue that there’s more bloodletting due in the very near future.) Meanwhile, Pete gets back to his family’s house to find Eli is recovering from being gunshot. And that’s just the start of the bad news.
Takeaway No. 2
Eli confides to Eli and Phineas that the young woman who shot him was the daughter of the Apache whose tribe he decimated decades ago as punishment for the slaughter of his wife and eldest son. Phineas is mildly shocked: He always though his father’s story about letting the Apache boy survive was just, well, a fanciful bit of self-mythologizing. Later, Phineas is again shocked — and greatly upset — when, while they're alone, Eli tells his son that he’s interpreted his surviving the shooting as a sign (from God, the Comanche spirits, or whatever) that he should give up their plans to grab Pedro Garcia’s oil-rich land. Phineas, who has already bribed a local judge to make some inconvenient land deeds disappear, refuses to be moved by Eli’s epiphany.
Takeaway No. 3
In the nearby town, the indefatigably sleazy Niles Gilbert holds court in his saloon while an Anglo ranch hand bitterly complains that local land owners are hiring Mexican ranch hands who’ll work for lower wages. Niles offers to help — which reminded us of a line Pierce Brosnan (a.k.a. Eli McCullough) delivered in the 1988 movie Taffin: “My help has consequences.”
Takeaway No. 4
Just a few hours later, someone sets fire to Niles’ saloon. But don’t be too quick to assume that Niles will spend much time bemoaning his misfortune: The “arson” actually is part of the plan hatched by Eli and Phineas to make the Anglo townspeople blame Mexicans in general, and the Garcia family in particular, for doing bad thing to white people. True, Eli had expressed second thoughts about that plan. But Phineas had gone ahead and gotten the ball rolling anyway. “You didn’t want the guilt of this thing,” he pointedly tells his dad. “So I took the burden on myself.” Before Eli can fully raise himself to strenuously object, he’s confronted by Pete — who wants to know why the hell his daughter has hidden a jar of crude oil in her dollhouse. One thing leads to another, Eli and Phineas detail their scheme to claim the Garcia property — and Pete gallops off to warn the Garcias of what lies in store for them. Eli is torn between conflicting loyalties to his two sons. But, unfortunately, it appears pretty obvious which child he will side with.
Takeaway No. 5
Back in 1850 — surprise, surprise! — Young Eli is shown to have survived being pushed off the cliff by Charging the Enemy. While struggling to make his way back to the Comanche camp, he runs into Maggie Phelps (Anna Lise Phillips), an eccentric (to put it charitably) mystic missionary who travels alone in her wagon after being booted out of her community, and seeks to help other settlers overcome the savage “Lamina” (Comanches). At first, Maggie seems relatively harmless, even helpful, as she nurses Young Eli back to health with herbal remedies and TLC. But there’s more than a hint that, sooner or later, she intends to have her way with Pathetic White Boy. When Young Eli announces his intention to rejoin Toshaway and Prairie Flower, Maggie chloroforms him into submission, and sets out to cart him back to civilization (to collect a reward even if she can’t jump his bones). Eli awakens, frees himself, and claims Maggie’s horse to ride back to the Comanche camp. As he departs, however, Maggie issues this prophecy: Eli will grow up to have three sons; the eldest will die as a child, the middle child will betray him, and the youngest will be lost forever because of something Eli does. It appears most of that forecast already has been fulfilled. We’ll see about the rest in next week’s season finale.
REVIEW Tony Sokol Jun 3, 2017 This The Son review contains spoilers.
The Son Episode 9
The Son season 1, episode 9, “The Prophecy,” sends mixed messages. Eli McCullough (Pierce Brosnan) will live up to his potential, but suffer the curse of success as the season and the empire looks to be winding down.
The sins of the father are often passed down to the son, as Pedro Garcia (Carlos Bardem) warns his daughter María (Paola Núñez). Eli was raised by two fathers in two families, one white, the other Comanche. Young Eli has no allegiance to his white father, who beat the kids when he was drunk and made his wife cry over some whore in Austin. But Tiehteti is loyal to the tribe who killed his family and raised him as a brave. It was more than indoctrination that turned Pathetic White Boy into a true Comanche. It was the spirit of Earth itself, which the Comanche respect far more than their civilized brethren.
The Lamina, which is what good Christians call the Comanches, aren’t people to the self-proclaimed divinely in tuned. A few weeks ago, Toshaway (Zahn McClarnon), the chief, admitted that all peoples demonize their enemies to make conquest easier on the conscience. But the mystic missionary who saves young Eli’s life only to chloroform him into captivity is only a Christian warrior, not military. She is charismatic, probably an early member of the Spiritualist movement that carved new frontiers into the psychic wounds the settlers inflicted on the native population.
Spirituality differs greatly between the white Christians and the Comanches. The Native Americans are open about their herbal remedies, but Maggie Phelps keeps her instruments of revelation under her hat. Sucking up the fumes to see the future, Anna Lise Phillips brings a wild eyed glint into her low key madwoman prophet. She wants to save the boy from himself, and probably for herself. Subtle sexual energy rises until she finally drugs the sleeping kid and falls asleep on top of him. That could be as powerful sex magic as the young wannabe renegade’s first love. Between that and the ultimate pain Eli causes, Maggie’s predictions could turn out to be eerily accurate.
Maggie predicts that Eli will go on to be a “great warrior. Everyone will know your name. You will live a long life and prosper beyond your dreams.” She goes on predict that he will marry and have three sons who are strong and handsome. The youngest will be his favorite. That all checks out. The first son of Texas earned that title the hard way. He fought for it. He did indeed marry and have three sons, though not with his intended bride Prairie Flower (Elizabeth Frances). Maggie kind of yada yadas over that, like Elaine yada yadas sex over dinner on Seinfeld. As a prognosticator, she earns top marks.
Young Eli rebels because of Maggie’s fervor. He would have kept to his word. He promises that he never betrays friends, acknowledges the help she gave, and would truly pay her back with interest. That is the character of the man he grows up to be. That’s the man she betrays, with the best intentions, and curses with foresight. She predicts that Eli’s oldest son will die as a child, his middle child will betray him, and the youngest, his favorite, will be lost forever because of something Eli does. By the end of the episode, it looks like her batting average on predictions is secure, we’ll know by season’s end, but all outcomes come out because of the character she helps forge.
The Apache kid that Eli talked about was real, though Phineas always thought he made up that part of the story. Eli is grateful for the assassin showing up when she did. It was a sign, maybe not magical, but fortuitous. It cements the First Son of Texas’s character. Eli never killed a man who didn’t attack him first. Pedro Garcia is his friend, saved his family’s life. While Phineas was off bribing a judge, his father was on the verge of an epiphany. He has to make good on the promises he made to the spirit of his former child gone native, even if it costs him his ranch and his family. He has a karmic debt that he is proud to carry.
Pete McCullough (Henry Garrett) has got a lot to be ashamed of, but not his relationship with Maria. He’s hurt a lot of people. Not just his wife Sally, but everyone whose blood now enriches the soil of his family’s land. He rides off to fulfill some part of the prophecy after his brother burns his allegiance at Justice League leader Niles Gilbert’s (James Parks) bar. This is the most pivotal scene in whole series. It’s an action scene acted in the horrific pain of schism. Eli watches each son move into place to fulfill the prophecy. Neither son knows they’re doing something predetermined, but they know that they are choosing their destinies.
Brosnan is a very generous actor. I saw an interview on Turner Movie Classics with Robert Ryan about working with Spencer Tracy. During the scene they were in together in Bad Day At Black Rock, Ryan wanted to make a mark as an actor with the acting legend. It was his big scene and he had the right to upstage the veteran thespian. Tracy played the scene sitting down and, worse, looking down, underplaying the shit out of it. There was no way to look at anything else. Brosnan doesn’t do that. He underplays, yes. But he allows the other, younger, actors to steal the gravity of a scene whether they want to underplay or be extreme, which they do with restraint. He makes the scenes he’s not even in better. Except for the scenes with young Eli, who is allowed to do it on his own. Sure, there’s bleed-over. There’s always bleed-over on the McCullough ranch.
"The Prophecy” was written by Julia Ruchman, and directed by Tom Vaughan.
From @mgltp7 Behind-the-scenes (10 photos) on the set of "THE SON" and its season FINALE, airing tomorrow, Saturday, June 10th 9|8c on AMC and streaming on Amazon, iTunes and AMC.com @jamesparksforeal as #NilesGilbert @theson_amc #TheSon #TheSonAMC #AMCTheSon #tv #tvseries #television #streaming #episodic #saga #basedonthebook by #philippmeyer #texas #boerne #behindthescenes #setlife #actorslife #greenroom #assistantdirector #jamesparks #piercebrosnan #henrygarrett #davidwilsonbarnes #seanstone #carlosbardem
(cilck the right arrow to see the second pic with Pierce)