Deadline.com – WME has signed The Killing‘s Joel Kinnaman, the agency said in a wide announcement. The Stockholm-bred thesp crossed over stateside as the street-tough Detective Holder on AMC’s cop show and starred in MGM and Sony’s RoboCop reboot earlier this year. The Killing was revived for a fourth season on Netflix this month. Kinnaman, previously with CAA, stars opposite Liam Neeson in WB’s 2015 crime actioner Run All Night and has Summit/Lionsgate’s Child 44 with Tom Hardy, Gary Oldman, and Noomi Rapace opening in April. The fast-ascending actor first broke out in his native Sweden thanks to roles in the Johan Falk film series and Daniel Espinosa’s Snabba Cash (Easy Money) trilogy. He also appeared in Espinosa’s English-language crime pic Safe House, Lola Versus, and David Fincher’s The Girl With THe Dragon Tattoo. Kinnaman continues to be repped by manager Shelley Browning at Magnolia and attorney Hansen Jacobson.
Hollywoodreporter.com – Joel Kinnaman, the Swedish actor best known for AMC’s The Killing, has left CAA, sources tell The Hollywood Reporter.
The 34-year-old actor joined the agency in May 2013 after he and several other clients of manager Shelley Browning split with UTA. Browning clients Rosamund Pike and Noomi Rapace remain at CAA.
Kinnaman gained a following in Hollywood for his work in The Killing, which recently streamed its fourth and final season on Netflix. But the movie that was to have been his breakthrough into the mainstream, Robocop, fizzled in the U.S. when it was released earlier this year. (That deal was made by Browning and UTA before he signed with CAA.)
Kinnaman has two movies in the can: Run All Night, in which he stars with Liam Neeson (the movie will be released April 17, 2015 by Warner Bros.), and the Soviet-era set crime thriller Child 44 opposite Tom Hardy and Rapace. That film, which will coincidentally hit U.S. theaters the same day next April, was directed by Daniel Espinosa, the Swedish filmmaker who helmed Kinnaman in his international breakthrough movie, Snabba Cash.
The Killing Post Mortem: EP Veena Sud Talks That Last Scene, the Lost Kiss, an Offscreen Wedding and… a Season 5?
TVLine.com – By now, you have probably Netflix-binged The Killing‘s final season — and you no doubt have questions of the burning and nagging variety. (If you’re still making your way through the six-episode swan song, bookmark this story and return when you are finished.)
Well, we had questions too — loads of them. About that final scene. About the rumored Holder-Linden kiss. About the surprise cameo. About a possible fifth season. And, after talking to The Killing‘s puppet master Veena Sud, we now have answers.
TVLINE | Was it always your intention for Linden and Holder to pair up romantically in the end?
There were many different possibilities for how the story of Linden and Holder would end. That was one of them that we started to discuss at the beginning of this season, and that felt right. From the very beginning, I knew that her journey would have to end in a place of uneasy peace, where there were no good guys, there were no bad guys. There was a truce that she had to make with the world as it is versus the way she wanted the world to be. I always knew that finding that peace would be an inner journey at the very end for her. Holder says, “It’s not ghosts in front of you, it’s not the dead.” And that revelation of who is standing in front of her and who’s in her life was something that I instinctually knew [I wanted to get to] from the very beginning. I didn’t know it necessarily would be Holder. But seeing what’s in front of her and being present of that — the beauty of the world — was the place I wanted Sarah to get to at the end of her story. That’s one reason that visual of her standing in front of that beautiful cityscape in the main titles has been a recurring image over and over. It transforms over the course of the series. It’s a city of the dead that she’s looking at. And, in the end, it’s a city — ultimately — of the living. And that’s where she belongs.
TVLINE | Finding this peace allowed her to be open to a romantic relationship with Holder?
Finding the truth of what is in her life, and not running away… Linden is a runner. She runs away from everything in search of a better life. And she says that to Holder. “Home is here. And you are home. You are my best friend.”
TVLINE | Was the five-year time jump always in your plans as well?
I always knew that we would end the present-day story at the end of the season and come back five years later with Linden and Holder. The story would never end simply around the case, with Linden running away again. That would just feel like more of the same. There would always be a final reckoning between Holder and Linden. That final moment where she comes back, we viewed as the final movement of an opera. If there was anyplace where we could’ve possibly ended the story it would’ve been with her leaving Holder and permanently leaving Seattle forever. That would have been a very different end for the character. And she never would’ve found peace that way.
The Killing Final SeasonTVLINE | Were you on set when those two final scenes with Mireille Enos and Joel Kinnaman were shot?
Yes. The final shot [pictured, right] was the very last thing we shot. We organized it so that would be how everything would end. And it was tear-filled for Mireille, for myself, for Joel, for the crew… It was very bittersweet for all of us. We became a family and we loved these characters.
TVLINE | Was there much discussion or debate between the two actors about how it would go down?
There was no debate. At the beginning of the season, I sat down with Mireille and told her how her story would end, and she said not one word. Tears were just flowing from her eyes. And she looked at me and said, “It’s perfect. This is the end that she deserves.” I told Joel separately as well, and he got teary. And he said, “Let’s not talk any more about it. Let’s save it for the moment.” So, on the day, both of the actors felt like [they were conveying] the truth of these characters. And they did it so beautifully. Everyone was nervous about that last scene, of course. We were all really quiet during rehearsal and during lighting. And then when we were all done, that’s when everyone cried and hugged.
TVLINE | There’s a rumor that a kiss was filmed and not used. True?
It was not filmed. I knew I never wanted to film a kiss. That would have felt a little too pat. But, at one point, Jonathan Demme — who directed the finale — did a lovely crane shot that I decided not to use in the end. But it was a crane shot that tracked Holder approaching Linden, and then — discreetly before they came together — [the camera panned] away. So the crane shot dollies away and looks over this beautiful river and we’re looking at the skyline, but Joel and Mireille continued their action, which was him walking towards her, looking at each other and then… they didn’t really know what to do next. [Laughs] So they kissed! The funniest thing is, everyone was clustered around the monitors looking at the shot and the script supervisor and my producer, Kristen Campo, were the only people looking on the ground at Mireille and Joel, and Campos kept nudging me, “Look! Look!” And I was like, “I am! I’m looking at the shot!” So I never saw the kiss, but they did.
TVLINE | So Linden and Holder finally kissed and it wasn’t caught on tape?
No, it wasn’t. [Laughs]
TVLINE | That’s pretty funny. OK, moving on to other hot topics. Billy Campbell’s return as Richmond was a nice surprise. How did that come about?
It felt very natural that the final person who would pull the rug out from under Linden would be a man who had become her nemesis. They started out in a similar kind of world of attempting good and wanting good. But he went to the dark side. And rather than having an anonymous sergeant or lieutenant giving her the news ahead of the police commissioner, it [made sense that it] would be the mayor. And he would relish giving her the news. So we called Billy and said we’d love for you to come back, and he said, “Just tell me when.”
TVLINE | Why would someone as smart as Linden return to the scene of the crime to dispose of crucial evidence? I’m referring to her getting rid of the cell phone at the lake house.
We do stupid things when we commit crimes. The fallacy is that any of us are Sherlock Holmes or Agatha Christie. When we’re emotional, as clearly she was during and after this very unexpected event, people do really dumb things. And going back to the lake, for her, was, “Let me close this up emotionally. Let me say goodbye.” She loved this man. She loved him deeply — for a long time. And she killed him. And she hated him. And she was repulsed by him. So in the miasma of all of these emotions, she made a bad move.
TVLINE | Similarly, Holder — who had a lot to lose if the truth about Skinner’s murder got out, as he made very clear to Linden — pretty much confessed to the crime at his AA meeting. That also seemed a little sloppy.
The reality, and a lot of cops will tell you this, is that people want to talk. We’re not sociopaths by nature. For the most part, we’re human beings who do bad things, feel bad about them, want to confess, want to explain ourselves, want to have a reason for why we did what we did. I think that they reacted in a way that bad guys do all the time. So, yes, both of them should have known better.
TVLINE | The scene where Linden was closely tailing Skinner’s daughter in her car as the girl rode her bicycle – what would have happened had that other car not swerved in front of her?
My feeling is, Linden — at the last possible moment — would’ve stopped herself anyway [from running her over]. Throughout this season, we see both Linden and Holder going to the edge and coming back. And letting these darker emotions rule them in a way that, in this very unique circumstance in life, they’ve never had to confront. So I believe in her heart she would never kill a child; that’s not who she is. But the agony of watching this child — this hanging chad — that keeps coming back over and over to make things worse and worse for her, certainly tempted her.
TVLINE | Did Holder and Caroline end up getting married?
They did. And then they quickly divorced. [Laughs] They were different animals. He and Linden are the same.
TVLINE | Did Kyle end up going to jail for the murders or did Col. Rayne take the fall for him?
No, Kyle did.
TVLINE | You previously told me that Season 4 was definitely the end of the road for the show, but Holder and Linden are still alive. And, as one of my readers suggested, a big murder — like, say, Holder’s daughter — would be just the thing to pull both of them back into their old jobs…
[Laughs] We brought her to the end of her journey. She found the thing that she was looking for all along. It’s the end of the story.
hillcountrynews.com – This summer, streaming services Netflix and Hulu are back in the spotlight again, releasing more self-produced television shows that are on par with — and in some cases above the level of traditional cable television series.
Dropped by AMC after three seasons, gritty crime drama “The Killing” was picked up by Netflix for a fourth season — said to the be show’s last.
The show, which features Mireille Enos, an actress virtually unknown before her Emmy-nominated run as Seattle detective Sarah Linden in “The Killing,” along with Swedish actor Joel Kinnaman (this year’s “Robocop” remake), is an exercise in episodic television.
As each season is essentially a long movie, rather than a series of individual episodes, “The Killing” seems tailor-made for Netflix, where shows are released a whole season at a time and binge-watching is the norm.
When it debuted on AMC in 2011, the pilot episode drew 2.7 million viewers — making it the No. 2 AMC debut behind “The Walking Dead.” However, the show drew the fire of critics and fans alike when it didn’t reveal the killer at the end of the first season. Numbers dropped off, as did ratings in the second season, and AMC cancelled the show after Season 2. However, negotiations with Netflix and Fox Television Studios helped bring the show back for a reasonably well-accepted third season.
But, the numbers just weren’t solid enough for a cable network show, and “The Killing” was killed again. Netflix came to the rescue, ordering a round of six episodes to give the show a final season and a chance to round out the storylines of its characters.
This kind of thing has become more and more common, but so has the advent of streaming services as international content distributors.
In the earlier days of cable television, the best shows produced overseas might eventually make their way to the U.S. by way of late-night syndication or by making an appearance on the long-running PBS show “Masterpiece Mystery.”
Shows like BBC’s “Prime Suspect,” starring Helen Mirren, and a number of shows featuring Agatha Christie’s famous sleuths Hercule Poirot and Miss Marple, as well as the outstanding “Foyle’s War,” starring Michael Kitchen, could only be found via PBS. Then, as the number of cable networks began to swell, more syndication deals became available, and more shows were visible to viewers — at least those who could sift through the myriad channels at the right time to find them.
Then came on-demand, and then streaming services to save the day. To the growing frustration of the cable monopolies, no longer do we have to sift through hundreds of often irrelevant television channels to find something interesting. Now, we can search by category, country of origin, or even by an actor we’re interested in.
To that end, I recommend you check out the following shows:
Netflix released a second season of neo-gothic horror series “Hemlock Grove,” penned by Brian McGreevy and Lee Shipman — a pair of writers from the Austin area.
“The Fall” is an Irish police drama starring Gillian Anderson (“The X-Files”). The first five-episode season is available on Netflix, and a second season just recently wrapped filming. If you’re wondering about Gillian Anderson with an accent, don’t. She’s of Irish descent, and a BBC regular who grew up in London.
Timely and engrossing, Hulu’s “The Promise” gives some historical perspective on the Israeli-Palestinian conflict, as a young woman learns about her grandfather’s involvement in the final years of Palestine under British rule in the 1940s.
If you haven’t seen “Lilyhammer,” starring Steven Van Zandt (“The Sopranos”), it’s a must-watch. This irreverant series was the first-ever Netflix original and one of its best.
Broadwayworld.com – Warner Bros. Pictures’ “Run All Night,” starring Oscar nominees Liam Neeson and Ed Harris, as well as Joel Kinnaman, under the direction of Jaume Collet-Serra, has received a release date of April 17, 2015, according to Deadline.
In the film, Brooklyn mobster and prolific hit man Jimmy Conlon (Neeson), once known as The Gravedigger, has seen better days. Longtime best friend of mob Boss Shawn Maguire (Harris), Jimmy, now 55, is haunted by the sins of his past-as well as a dogged police detective who’s been one step behind Jimmy for 30 years. Lately, it seems Jimmy’s only solace can be found at the bottom of a whiskey glass.
But when Jimmy’s estranged son, Mike (Kinnaman), becomes a target, Jimmy must make a choice between the crime family he chose and the real family he abandoned long ago. With Mike on the run, Jimmy’s only penance for his past mistakes may be to keep his son from the same fate Jimmy is certain he’ll face himself…at the wrong end of a gun. Now, with nowhere safe to turn, Jimmy just has one night to figure out exactly where his loyalties lie and to see if he can finally make things right.
Shooting in and around New York City, primarily in Brooklyn and Queens, “Run All Night” also stars Vincent D’Onofrio (TV’s “Law & Order: Criminal Intent”), Boyd Holbrook (HBO’s “Behind the Candelabra”), Patricia Kalember (“Limitless”), Genesis Rodriguez (“Identity Thief”), and Academy Award nominee Nick Nolte (“Warrior”).
Collet-Serra directs from a screenplay by Brad Ingelsby. The film is being produced by Roy Lee (“The Departed”), Michael Tadross (“Gangster Squad,” “Sherlock Holmes”), and Brooklyn Weaver (executive producer, upcoming “Out of the Furnace”), with John Powers Middleton (TV’s “Bates Motel”) serving as executive producer.
The behind-the-scenes creative team includes director of photography Martin Ruhe (“The American”), production designer Sharon Seymour (“Argo”), Oscar-nominated editor Craig McKay (“The Silence of the Lambs”), and costume designer Cat Thomas (“The Heat”).
Torontosun.com – Netflix has given Joel Kinnaman the opportunity to finally let loose.
The Swedish-born actor stars in crime drama The Killing, which debuted its fourth and final season this past weekend on Netflix. And the move from cable channel AMC to Netflix provided Kinnaman’s character — Det. Stephen Holder, a rough-around-the-edges former drug addict with an unique sense of humour and a potty mouth — the chance to speak in a realistic way.
Kinnaman, 34, says he spent the first three seasons of the show tiptoeing around profanity, occasionally uttering words that weren’t allowed and making the crew set up for another take. But with the loosened rules at Netflix, things changed.
“I didn’t have to worry about that,” he says. “I could just talk like the character would talk. So that just made it a little easier.”
And the actor jumped on the opportunity to swear as soon as he could — even if it wasn’t coherent with the story.
“The first scene we shot in the fourth season,” he says, “it was kind of a joke of a scene, but I just went on this avalanche of cussing for like three minutes.”
He makes his voice deeper to replicate the moment, lets a string of profanities loose — the kind of words that we can’t print here — and then laughs.
“I was like, ‘I just had to get that off my chest,’ ” he says. “It’s been three years of holding it back.”
But aside from the dialogue and slightly longer running times — instead of 45 minutes, the episodes now stretch to almost an hour each — Kinnaman says season four’s six episodes maintain the feeling of the first three seasons. So, don’t expect any nude scenes.
“This show has a very specific tone and a moral behind it,” he says, “so you’re not going to find any nudity. There’s not going to be a bunch of t—ies bouncing around just because it’s on Netflix. That’s not the show.”
The Killing, based on the Danish TV show Forbrydelsen, won over many viewers when it debuted in 2011 with its creepy, rain-soaked Seattle setting and similarities to the classic David Lynch series Twin Peaks. However, when detectives Stephen Holder and Sarah Linden (Mireille Enos) didn’t find Rosie Larsen’s killer at the end of season one — even though AMC sort of implied that they would — fans revolted, with viewership dropping to nearly half for the show’s second season.
As most people familiar with The Killing know, the show then experienced two rebirths. After AMC cancelled it in July 2012, Fox Television Studios (which produces the series) shopped it around to other networks, which eventually led to a third season airing on both AMC and Netflix, with the two companies sharing production costs.
Then it got cancelled again. So this past fall, Netflix announced that it would continue the show for one final season, which gives us another example of the kind of digital life extension that seems to be happening a lot these days (we’re looking at you, Community).
Kinnaman, who starred in the 2014 reboot of the ’80s hit RoboCop and will appear in the upcoming mobster drama Run All Night, says that the show’s uncertain status never really affected him.
“I’m not that sentimental of a person,” he says. “I was already restless after two seasons. I’d never done anything for that long, and I had a lot of other interesting opportunities that I really wanted to do. So, it was quite an easy transition for me (to say goodbye).”
But in preparing for the fourth season, the actor admits he underestimated how much the show meant to him.
“It was surprising how rewarding it was to actually have a real conclusion,” he says. “It really meant a lot to me to get that true ending, and leave the character in a dignified way.”
The fourth season begins with Holder and Linden reeling from a violent decision at the end of the previous season (we won’t spoil it if you haven’t caught up yet). The new batch of episodes focus on the murder of a wealthy family, with the investigation leading to an all-boys military academy.
Now that the show has wrapped up, Kinnaman says he’ll miss the on-set dynamic that he shared with Enos, who recently had a baby son named Larkin with her husband, actor Alan Ruck (Spin City).
“I’m definitely going to miss working with her on a regular basis, where we spend so much time together,” he says.
“But we’re friends, so we’ll find ways to hang out. She just had a baby, and that’s going to be one of the first things I do when I get back to Los Angeles. I’m going to visit little Larkin.”
EW.com – And so The Killing’s series finale begins just as the pilot did, with Sarah Linden running. But this is not the tranquil jog of the show’s opener. It’s a frantic sprint, like she’s running for her life. As soon as she spots the red pinwheel she cherished as a child—referenced during Linden’s reunion with her biological mother in the show’s penultimate episode—it’s clear all this is a dream. Below that pinwheel is young Sarah Linden herself, buried and lifeless. After all these years working soul-crushing homicide cases (and going in and out of the psych ward), it took this entanglement with the Pied Piper (her partner, her lover, her boss, her first murder victim) to truly rob Linden of her innocence. Behind Linden, a gun comes into frame. Is death the only way she can return to her former, better self? Once the trigger is pulled, it blasts Linden into the waking world to find out.
In another echo of the pilot, a line of men scours the forest. Only these aren’t police, looking to solve a crime—they are cadets at a twisted military academy, unwittingly abetting one. Kyle Stansbury’s bloody handprint tells them they’re not far behind.
At the obstetrician’s office, Holder is battling so many demons that he’s barely present. It’s something Caroline has mentioned several times in the last couple of weeks, and she deserves an explanation for his distance. Holder says he’s sick—a loaded word that covers every one of his current problems (sick with guilt, sick like an addict, sick in the head…). Without saying his crime—he wouldn’t dare utter it in front of his wife-to-be and his unborn child—he tells Caroline he has a choice to make “between you and her.” He is absolutely destroyed in acknowledging what he’s become (or, more to point, who he’s become: his father). Caroline immediately understands the other woman is Linden and presumably thinks the betrayal is physical. She dismisses Holder’s self-loathing, putting on her lawyer face and insisting nothing matters now except their baby. Once Holder hears the heartbeat of his daughter(!), the clouds sweep away from his face, and it seems he believes Caroline.
Magic bullet status update: Still no bullet. But the phone does ring while Linden search, and she heads to a rainy lot and waits (back on the cigs like old times). A bloody hand slaps her window. It’s Kyle. He’s been shot, and the memories of his family’s murder are flooding—another, and perhaps The Killing’s last, pathetic fallacy. It is absolutely pouring outside as Kyle identifies Fielding, Knopf, and Colonel Rayne as murderers. As Linden cradles him, just like he cradled his 6-year-old sister Nadine through her night terrors, Kyle wails, “I don’t want to remember. I don’t want to remember. I don’t want to remember!” Then, pitifully: “I want go home.”
Linden deposits Kyle at her house so she can do some work. He looks out the window, musing that this must be “what Eden was like.” She riffs on their first conversation, saying that a tree outside is the Tree of Life. She assures him he’ll be safe, that no one will find him. But if Linden possesses the same skill for hiding people as she does for covering up murders, I’m not so confident.
NEXT: Blood, Rayne (read more at the source … )
VIEW: The Killing: Screen Captures > Season Four: Screencaps (2014) > 4.06 – Eden
EW.com – D-Day: With Skinner’s body and the bodies of his victims uncovered, Linden surveys the wreckage she hath wrought. As Holder looks on, she makes her way toward Skinner’s body bag and lifts it to really take in the ghastly truth. Her expression settles into some combination of resignation, resolution, and nausea.
Reddick joins the medical examiner, who blithely notes that the victims might take a while to ID since they’d gone undiscovered so long. Or, as he puts it, “there’d be less animal activity—they might still have their faces.” Thanks for the graphic description, buddy. Reddick pays particular attention to Skinner’s case, demanding a personal copy of the autopsy findings. Believing Reddick only has circumstantial evidence, Linden coaches Holder that their best defense is to stay strong and stay on the same page. Just a thought: She would be smart not to be game-planning her murder defense just yards away from the man investigating her.
Their caucus is interrupted when Holder recognizes Kallie’s earring and realizes it’s her body on the stretcher right next to them. Soon after, Skinner’s wailing daughter barges into the morgue. Linden escapes the latter by going guns-blazing to St. George’s. Colonel Rayne knows Linden has no leg to stand on and accuses her of being an emotional woman. Linden goes to the SPD stock her arsenal, and Holder rattles off evidence that Philip Stansbury and Rayne were having an affair. Linden is ready to re-storm the castle, but their warrant has been denied. All jacked-up and nowhere to go, Linden storms Caroline’s office instead. Like Holder with Knopf’s mom, Linden is completely inappropriate—pretty much the last thing Holder needs after the “big deal” bust-up with his sister.
Back in the precinct parking lot, tensions are high as Holder tells Linden to slow her roll and stop ticking off people who can help them. Linden is in crisis mode (any crisis will do!) so she takes off. Holder gets out in time to see Danette Leeds, Kallie’s mom. Delusional as ever, she wants to see her daughter and say goodbye. Holder tries to kid-glove it, but she’s an uncomprehending wastoid who won’t take no for an answer. He finally crumbles under the pressure, mentions Kallie’s mangled face (or lack thereof), and grabs Danette’s arm to drag her inside. She resists, but it has to be one of Holder’s lowest points—and, between the addiction, drug-pushing to children, and bridge freak-outs, there have been many.
NEXT: Reddick drops a few truth bombs (read more at the source … )
EW.com – As implied by the episode’s title, we open with a dream. Kyle is overjoyed to see his 6-year-old sister Nadine in his dorm room. As if her night terrors have abated, she asks, “Are the monsters gone?” And then a trickle of blood slowly inches its way down her forehead. It’s no public stoning, but it’s pretty unnerving to behold.
Kyle flees to Col. Rayne’s house, where she’s doing a little late-night solo waltzing (not a euphemism). It remains unclear why the writers have chosen to layer Rayne with these frilly adornments: She bakes cakes! She will judge your office décor! She’s a foxtrot aficionado! Beyond injecting her very masculine-dominated life with an antidote of feminism, they certainly all seem to add up to a domestic life that Rayne will never have but allows herself in which to indulge in only the most intimate circumstances. And Kyle, with his sensitivity and love of the arts, seems to be presenting a simpatico relationship for her. It would be kind of beautiful in its sadness if it weren’t tinged with an underlying feeling of being fundamentally off.
Speaking of being fundamentally off, Lincoln Knopf finds himself in the midst of a street corner Q&A with Linden and a much-worse-for-the-wear Holder. Knopf is his usual charming, eloquent self, talking about Linda Stansbury’s short tennis skirts that “barely covered [her] snatch,” bragging about blowing animals’ heads off, and just generally being gross. After Knopf claims the gun he’d brought to school was in his room at his parents’ house, Holder went tit for tat with graphic tales about prison hazing rituals.
In Knopf’s bedroom, the partners find a soft-porn treasure trove of posters altered so that bikini babes’ eyes and mouths are covered in duct tape and or otherwise disfigured. If I were a detective on this case, my first question would be, Is he seeing anybody? After seeing Holder acts so erratically aggressively rude with Mrs. Knopf that she threatens to file a report, Linden confronts her partner: “Are you using again?” He jumps out of the car and visits a church. It would appear that not 24 hours after denying the existence of God, Holder is a man in need of something to believe in.
In case children bleeding from the head, tales of prison gang rape, and examples of the male gaze through an S&M-warped prism weren’t disturbing enough, Fielding gathers St. George’s new cadets for the annual Slap-Happy Sing-Along Day. In a brutal rite of passage, the boys are tasked with pairing up and each singing a line from a nursery rhyme then slapping the stuffing out of their partner. Despite the thrashing Kyle gave Knopf a few days back, he’s apparently reverted to his “incapable of violence” factory setting. When he asks to leave, then outright refuses to participate with Fielding (his superior), Kyle is reteamed with Knopf, who practically cracks his knuckles in anticipation. He sings line after line of the “Itsy Bitsy Spider,” pausing only briefly for Kyle to defer, before smacking Kyle. After a few rounds, Kyle is bawling, his right cheek welted from Knopf’s smacks. Humor me for a minute here: Is Kyle almost too innocent? Does it strike you as Primal Fear-level passivity. Given what we know about Kyle’s abusive family, his tendency to internalize his feelings, and his ability to deliver a beating when prompted, might he be the spider? Is he just rearing back before the strike (whether it’s unintentional or not)?
NEXT: A pair of lovely Linden-Holder exchanges (one in a gas-station bathroom, no less) (read more at the source … )