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A review of a short fiction story kevin rayburs run

It's a huge gamble as it turns the series from a twisty non-mystery into a straightforward drama of watching people almost willfully make a bad situation worse. To its credit, the shorter second season of Bloodline follows through on its promise of watching the Rayburns lives fall apart.

Creators Todd Kessler, Glenn Kessler, and Daniel Zelman have built a reputation of creating stories wherein characters who enjoy the perks of a relatively high socioeconomic standing become unwitting participants in the destruction of their own privilege.

On one hand, the series is one giant schadenfruede; a drama about the cost of morality wrapped up in the rapid in decline of a privileged family prone to harboring dark secrets. Bloodline is always drawing a line between the haves and the have nots that is intended to underline the larger dramatic impact of what the Rayburns have done.

In season 1 it was Dannythe black sheep of the Rayburn clan who was assigned that station in life by a bit of atrociously bad luck.

His sister died under his watch and the rest of the family failed him; they failed him again and again until they killed him. In other words, as John narrated in season 1: The whole series is filled with nothing but bad people. Each and every Rayburn from John down to his boring kids is, in their own unique way, a miserable, unlikeable individual.

  • I'd hate to think all these talented people got together to make a real pile of nothing, but I guess that's just how life is sometimes;
  • I thought maybe her brother was chasing her but that wasn't the case;
  • He knows enough to expose both John and Kevin for their crimes, but will he get an opportunity?
  • Where's the sibling shorthand, the kind of "here we go again" glances?

That's what makes the oft-repeated question of: It makes you want to scream at your television: It's not like The Sopranos or Breaking Bad where Tony or Walt instill conflicting emotions in the audience where their horrible actions call for punishment and yet those watching might prefer to see that not happen.

As bad as things got, there was an emotional investment in Tony and in Walt that is missing in Bloodline. You could see how things might be different if the series were focused on Danny — considering his family's treatment of him — but John, Kevin, and Meg? Even as the season attempted to insert Danny's son Nolan Owen Teague into the narrative as a sympathetic surrogate for Ben Mendelsohnit came up short.

Nolan's behavior early on was so off-putting, and his involvement with John Leguizamo's Ozzy so underdeveloped that by the time he is raking the beach and waving in earnest to his grandmother Sally Sissy Spacek the intended emotional impact of the moment feels unearned. Nolan begins as a living reminder of his dead father — especially for those who killed and helped cover up his Danny's murder — and yet the series never manages to take him beyond that device.

It's never quite made clear who this kid is and what he means to the rest of the story.

  • Five dials number 25 the big corking fiction issue kevin barry is the author of the short-story collections dark lies the island we run barefoot in the street;
  • This decision basically made the writers of the show take what they envisioned as a five-season arc and condense it all into this final season;
  • I want to know what her former co-workers thought of her;
  • That's not a bad setup for a show, but Bloodline makes the least of it by overarticulating every thought;
  • Though it took a while, sleep eventually claimed him;
  • We know I don't do well talking with women….

There are hints that Nolan represents a chance to make things right when it comes to Danny. Sally becomes the first, by welcoming him and his mother Evangeline Andrea Riseborough into her life and her home. But Sally was only complicit in Danny's mistreatment by his father.

What is Nolan to do with his aunt and uncles? Were it not for Danny's death, it stands to reason Nolan wouldn't have been introduced to the Rayburns in the way he was. Which leaves the kid in a tricky place in terms of the narrative as a whole, especially as it continues to revolve around John, Kevin, and Meg wrestling with the morality of what they've done.

In fact season 2 is filler, where the purpose is to create tension with a series of mini conflicts and improbable resolutions, followed by more conflict. It's a series of things that happen without leading to something bigger or more meaningful.

Bloodline is so wrapped up in this rinse-and-repeat method of introducing conflict and building tension, it doesn't see the end coming. And so, episode 10 takes the series and the audience by surprise. It's a non-ending; an escalation of events designed to compel the audience to binge the next hour even though they have to get up for work in the morning.

The twist here is: It is a season filled with shortcomings, but none as glaring as how the Netflix all-at-once model resulted in episodes lacking a true episodic structure and a season that ends without warning.


You can call it a cliffhanger if you like, but really, it's a non-ending. Streaming shows have developed a bad habit of stringing the audience along for hours on end; leaving episodes open so the next hour connects as seamlessly as possible.

That may work for the binge-watching model, but it makes for seasons that drag in the middle and don't conclude; they just drift off. Shows like Bloodline would do well to understand the promise of more must be hinged on a potential fixed endpoint to the story, not the tacit implication that the story is never going to end.