The tragic thing there is that the real fault is with Alliser & Co, who most likely manipulated the child (by poking at his gaping wound over losing his family) into joining their mutiny. As always, it is the innocent who are the victims of the conniving of the fallen. After Jon came back to life, there was no way for…

the point is that there's a killer in all of us. that any one of us, no matter how innocent, is capable of the monstrous given the right causes and conditions. Not that there is a self that changes or becomes revealed.

It seems to me that it is the reviewer who, stuck in the details, cannot see the forest for the trees. You think that Hawley is being odd for the sake of being odd—but analyzing the episode in terms of oddness completely misses the point. This show is and always has been something of a philosophical/theological…

no mention of the cameo?

This is the thing with the Get Down. It's an adventure story, in the style of medieval adventure tales — a group of knights, and their daily adventures, etc. A Telenovela Dickensian musical set in the graffiti colors of the 1970s. It's melodrama, it's all emotion. It's cursi, cliché, but in a lovely, shameless way.…

Now that's what I call a Pyrrhic victory. How depressing.

What the fuck was up with that kiss? This isn't a Pedro Almodovar movie, nor is it a cheap 90's thriller. Damn, that shit broke my heart.

It seems like the aesthetic and cultural depth of The Get Down went over this reviewer’s head. The story seems, to me, pretty clear: it is the classic hero’s journey (per Joseph Campbell), but instead of knights with swords or jedis with lightsabers—that is, warriors with their weapons—here we have artists with the…

What I'm saying is not that he was secretly a cold blooded killer all along — it's that all of us have the capacity to commit the abhorrent, and labels such as "innocent" and "guilty" ("good" or "bad") mislead us into thinking that there is such a thing as the person incapable of committing the abhorrent.

I totally agree with you, which is why I think the show is so great. The context for the beating — that it was motivated by revenge, that it was crucial for him to step up so that he would be feared in prison, hardening up to survive — all of this is, within the circumstances, reasonable. I am not questioning this.

I would have liked a deeper discussion of Naz's final descent into criminality, giving his character more breadth than he had before. He contains multitudes now, whereas before this episode it was easier for the audience to trust him as true. The putting away of the "Good Boy" card is a metaphor for the episode as a…