LateReg wrote:Mr. Reindeer wrote:There are definitely some subplots that feel oddly rushed and underdeveloped, considering that this thing was scripted and shot as one long production AND outsized to twice the initial planned length. Plot has always been a bit perfunctory to DKL, but with certain subplots here, it feels almost like a frustrating obligation, like a kid being forced to reluctantly say his prayers. This might be the downside of the L/F collaboration. Unlike last time, DKL seems to be struggling to honor and include Mark's contributions almost religiously, even when his heart really isn't in it as director.
I love how subplots feel underdeveloped. I think a huge part of the creation of The Return is giving the viewer the idea that life is taking place outside the frame. Between the roadhouse sequences and then the investigations that have clearly taken place offscreen, it seems that way. With Chad's arrest and Truman's reveal to Ben that he is on top of the hit and run case, it's a new method of storytelling that allows the writers to not have to waste time on certain procedural aspects of the thriller. It's odd to see at first but ultimately refreshing, in my experience. And oerfectly in line with the way everything feels like impressions of events in this season.
And it's quite possible by the end the subplots will no longer feel underdeveloped.
At this point though I feel pretty sure that Beverly is not some sinister double agent. There is nothing more to her storyline other than her attraction to Ben Horne.
I still suspect there is more to Red than meets the eye.