Julian Sands

The search for Dr. Crane continues this week in a way that is notably off kilter with the beats of “The Fearsome Dr. Crane”. There are moments that inelegantly reset character progress that would’ve made more sense following an earlier episode, while dialogue bluntly attempts to integrate events that happened in the previous two episodes. As far as recent episodes go, this one appears to have suffered the most from the expanded season order.

“Bullets and Tears” makes the best case possible for why Rabbit’s presence this season has at least been important in helping develop the relationship between the man known as Lucas Hood (or Tom Palmer, as he would have been known in another life) and Anastasia.

The one perverse positive of producing a turgid piece of dross is that it immediately sets the bar so low that virtually anything can top it and look reasonable by comparison. After last week’s nightmare of a bore-fest ‘A Little Reflection’, Dexter could quite comfortably fills its episodes with serial-killer-killer-killers or murderous clowns and not worry about the disconcert growing greater. Fortunately, a writing team that has become the bane of a show’s loyal fan base don’t quite push the envelope that far down stream, instead opting for a continuation of their scatter shot story with ‘Dress Code’ and deciding to replace time killing with people killing. Plot, in other words.

Gothic Written by Stephen Volk Directed by Ken Russell UK, 1986 Natasha Richardson (in her leading role debut) plays Mary Godwin, later Mary Shelley, in Ken Russell’s fictionalised take on the inception of both her classic novel Frankenstein and John Polidori’s The Vampyre. It is based on the Shelleys’ visit with Lord Byron at Villa …