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There’s something about that act that feels particularly visceral and nightmarishly familiar. I’m not sure Sally murdering somebody would’ve been believable before this moment, and even in this scene, it’s the specific context that makes it work: This man is choking her, like her abusive ex-husband did, like she asked her boyfriend to do to her in acting class, like she asked stuntpeople to re-create on the set of Joplin. “I don’t want you to go to the same place.”Īs a plot device, Shane becomes a handy outlet for Sally to release her not-so-pent-up anger under the guise of self-defense. “I know where I’m going after all this,” he tells an oblivious, single-minded Sally. But after Barry’s brush with death, he doesn’t want any company on the dark side.
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This scene represents Sally’s first real crossover into the crime-world half of the series, and it’s not just Shane’s sudden attack it’s her desire to be like Barry, to indulge her rage and inflict pain on another person. But all those plans go out the window when a much more serious problem presents itself in the form of Shane Taylor, the biker-gang member who survived “710N.” She’s in a dark place, and like Fuches, all she can think about is revenge. But Sally’s already there, following up on Barry’s earlier offer to mindfuck and gaslight Diane Villa - only she wants him to mess with Natalie instead. First, he ditches the hospital and returns to home base at Nick and Jermaine’s place. And what might be most impressive is how efficient it is, leaving so many open possibilities for season four but also setting up the next phase of this story with ease.īarry’s story is told in three acts this episode, and fittingly, each act centers on his relationship with a character he hasn’t spoken to in a while. It’s essentially a perfect 30 minutes: heart-stopping in scene after scene and consistently hitting that groove of surprising yet inevitable. I remember Locke opening the hatch in the first-season finale of Lost, Jesse shooting Gale and Hank reading Leaves of Grass on the toilet in Breaking Bad, and the garage scene and crying to “With or Without You” in the finale of The Americans. And I’ll remember watching “Starting Now,” the best episode of the best season of one of the best shows on TV. That old-fashioned feeling that reminds you of when you were first getting into TV: staring at the screen, wide-eyed, heart pounding, fully engaged, not noticing the run time, knowing in the back of your mind that you’re seeing something special.
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It’s rare that you get That Feeling watching a TV show.