(*) And my goodness, if you watch this show with the captions on, you saw Hank cowering next to the radiator as phrases like “(bones crunching)” and “(shrieking)” appear to describe the sounds he is hearing. Hank rescues him, killing Elena in the process, but neither man seems remotely OK with what they’ve just had to endure. Even that could be presented as something of a hero moment for the oft-cowardly Hank, but Carrigan plays it too haunted for that, and it’s followed by him discovering his lover Cristobal (Michael Irby) being subjected to a crude electroshock version of gay conversion therapy by his scorned wife Elena (Krizia Bajos). It is so much scarier that way(*) than if the show had done something with a CGI panther (even a realistic-looking one), and it perfectly sets up the moment when Hank’s fear gives him the strength to break the chain on his handcuffs, take a rifle away from one of the Bolivian guards, and shoot the panther through the holes it created in said wall.
#YOUNGER SERIES FINALE HOW TO#
As a director, Hader has become diabolically clever about how to depict the violence that is present in every aspect of Barry’s world, and here he makes the correct choice to present the panther attack entirely from Hank’s perspective in the next room: an aural ordeal that is on the verge of bursting through the wall. As if to demonstrate how much rougher things have become, the finale - directed by Hader and written by him and Alec Berg - even put Hank into nightmare territory, shackled to a radiator in the dungeon of the Bolivian drug cartel, listening in terror as his colleagues Yandar and Akhmal were mauled to death by a panther in the next room. Much of Season Two was relentlessly bleak outside of the scenes with Anthony Carrigan as NoHo Hank, after all. We know that Barry can go pitch black with its tone. He insists that through his job, he has encountered evil, and that Barry is not evil(*), and tells him that this all has to stop - “Starting now.” He walks away, leaving Barry a heaving, guilt-ridden, existentially despairing mess in the middle of this arid landscape. Whatever plan Albert had is out the window, and instead he acknowledges that Barry saved his life after the shooting, and that Albert’s daughter Elsie would not exist without Barry. Rather than answer Albert’s questions, he collapses into a ball on the desert floor and begins to sob.
(As with Janice, Chris died for the sin of putting Barry’s exciting new life in Hollywood at risk.) Barry has just had an emotional breakthrough - the first one since he joined the Marines, if not the first of his life - and understands just how monstrous he is, and what fate awaits him when he dies. Albert confronts Barry about the whole murder-for-hire business, and particularly about Barry’s decision to kill their old comrade Chris back in Season One.
Albert tracks Barry down to the desert where our title character is disposing of a body - ironically, of one of the few people this season whom Barry didn’t kill - and holds a gun on him. The phrase, and the sentiment behind it, returns in this week’s episode, this time uttered by another law enforcement officer who has surmised Barry’s secret identity: FBI agent Albert Nguyen (James Hiroyuki Liao), who served in the Marines with Barry in Afghanistan, and whose near-fatal shooting triggered Barry’s first killing rampage. 'Silence of the Lambs': The Complete Buffalo Bill Story Flashback: Tina Turner Covers Dolly Parton, Kris Kristofferson on Debut Solo Album
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