Evey tries to flee the building but is seen by Finch and hides. He jams the elevators and sets off the fire alarm, evacuating the building to slow down police. Key Event: Meanwhile, V attacks the BTN, forcing them to broadcast a message of rebellion across every TV in London.They find out she was one of the kids put in the Juvenile Reclamation Camps, and call for backup. Finch and his detective are headed to the BTN, having found Evey’s expired office ID in her apartment.She delivers a stack of packages to the stations backstage, finding copies of V’s Guy Fawkes mask inside. The next morning at her job as an office worker for the BTN, Evey apologizes to Gordon, her boss and the man she was meant to visit.Their job is to cover up the attack and hunt down the terrorist and his female accomplice. We are introduced to Dascomb, head of the BTN television network, Creedy, head of the secret police, and Inspector Finch, head of investigations. In a shadowy meeting hall the High Chancellor of Britain, Adam Sutler, lectures his top administrators on how to handle the explosion and this new masked terrorist.Inciting Event: From the rooftops of London, Evey watches as V conducts a symphony through the government loudspeakers all over the city, before blowing up the Old Bailey building in a display of fireworks.A strange masked man named V saves her, and invites her to join him for a “musical performance.” She agrees. Along the way she is assaulted by “Fingermen,” the secret police of the current British government. Back in the present, Evey Hammond leaves her apartment after curfew to meet with a male friend.Hook: In the past, we watch as Guy Fawkes is hung for attempting to blow up the British Parliament building, while the narration tells us to “Remember, remember, the fifth of November.”.Many of these overlap, which is good, but some don’t, hence focusing on the main character, Evey, for this outline.) Act 1 (1%-25%) Since there are three concurrent protagonists in this film each one has their own structural moments in the movie. Or, if crazy is where they want to go, then I’d like to see them just push whole-hog into that arena, rather than awkwardly straddling the space in between two types of shows.(This outline is based on the structural beats found in Evey Hammond’s story. I’ll just be very glad to see the back of this opening arc, and to see this creative team forge ahead taking advantage of this specific setting and the way their writing and these actors have shaped the characters. (Gus breaking Sonya out of her funk with his profession of romantic interest was a really nice scene.) There is a lot here that works. Before we discovered that Alma was sleeping with the killer, the Ruiz family drama was among the better examples of its type, when often family strife in a workplace series like this feels clumsily inserted. Graciela, Fausto Galvan and Linder are all strange, memorable pieces of the puzzle whom I enjoy in most contexts. I love watching Frye and Adriana, whether together or separately. I think the three main cops are terrific characters (and Cooper’s interesting, even when he’s being cruel to Sonya). (And what are the odds that Marco never happened to come by Alma’s office and got a look at some of her co-workers?) Despite the occasional undercurrents of weirdness, “The Bridge” feels pitched at a level of reality that can’t sustain something like this, which feels like it belongs on a different, much crazier show. That Tate, or Hasting, or whatever we want to call him, has spent so much time getting so close to Marco’s wife, and his life, makes me even less interested in seeing this play out than I was before. Perhaps in the original, the killer having revenge in mind against one of the two lead cops, and spending six years on a macabre, Rube Goldberg-ian plan of revenge, played better here, it feels like the most insane contrivance yet in a season full of too many coincidences and too much strange behavior. I haven’t seen “Bron,” but I’m told by viewers who have that this more or less follows the killer’s story from that show. I’m pleased we’ve gotten to the Butcher’s identity in only the season’s eighth episode, because I don’t think this mystery has been the show’s strong suit, and the revelation of whom the killer is and what’s motivating him only underscores that. A quick review of tonight’s “The Bridge” coming up just as soon as I cheer for pants…
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