Original air date: July 10th, 2017
This week’s installment definitely gave some surprises. Of all the things I thought Viktor would be, Tulip’s husband was not on the list. Looks like he was the rebound after Jesse—doesn’t Tulip know you never marry the rebound– it never ends well. I don’t know if Viktor is long for this world; he may have survived this episode, but looking at next week’s preview, Jesse looks a little blood thirsty and axe wield-y. Then again, The Saint of Killers might get to Jesse before he finishes Viktor off. This is where I think the Grail is going to be an asset to Jesse, and they may be able to stop TSoK. Or Hell might be looking for him and they will intervene.
I assume that is what the phone call to Mannering was about. Speaking of Hell, okay I know it is Hitler I’m talking about—but not cool Eugene. I have to give props to Noah Tyler, for making someone like Hitler sympathetic. And I’m not saying Hitler doesn’t deserve a beat down, I just don’t want Eugene to give into peer-pressure and stop being himself. I guess that might be hard to ask for in Hell. I don’t think he deserves to be there, and it is his presence that is disrupting Hell’s electrical system. He’s like a computer virus slowly destroying the whole thing. What happens if it completely shuts down? All of Hell’s inmates running amok—that can’t be a good thing. If this is the case, will they kick him out or is there something worse than Hell?
So Jesse, Tulip and Cassidy are in New Orleans, the actor that played God was from New Orleans and the Grail is there. What is the common denominator? Is there easy access to heaven from New Orleans? Is it because God’s love of jazz is well known? Jesse is trying to figure it out and I’m wondering if the Grail were the first to notice God was missing and put in a replacement so that they were the only ones looking for him. Or maybe they are the reason God is missing in the first place? If their goal is world domination, how better to do it than to kidnap God. I myself would try to control the global economy—but that’s the small kind of thinking that won’t get me anywhere.
This episode was a delight to watch; the design of the show is superb. I’m always impressed by the production value—I’m talking big-budget movie quality. The show’s take on Hell—looking like a super max prison, but somehow even more depressing, is genius. And New Orleans is rich with amazing architecture, which the show uses to it’s best advantage. The fight scene between Jesse and Pet—amazing. Not since Shaun of the Dead has there been as great of fight scene and music as that fight. Uptown Girl just jumped to the top of my workout playlist. Not only was this a great song choice, but the choreography and sound editing were amazing. I might have laughed a little too hard as the dead body was caught in the cross-fire.
For me, a sign of a good show is when I am simultaneously glad the episode is over, because I need to process what just happened, and in utter agony because a week seems so long to wait for the next episode. Every week this is how I feel about Preacher.