Home / TV Review: John From Cincinnati – “His Visit: Day Nine”

TV Review: John From Cincinnati – “His Visit: Day Nine”

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The season – and likely the show – is over, and if this is the way we go out, I’m pretty satisfied. It’s a finale that resolves some central questions, but leaves us with a lot to talk about in the years to come. If the end of The Sopranos tells us anything, it’s that questions draw more attention than conclusions, and considering so much of the joy of the series is in its mystery, I’m glad we’re left with some things to ponder.

I thought I had figured the whole show out last week, but this week left me with some open questions. Still, if you follow the basic thematic template of the season, most of what happened does make sense, and is a perfect thematic wrap up to what we’ve seen over the course of the season.

Themes and complex ideas aside, the opening of this episode is pure filmic adrenaline, the real climax of the series and an absolutely exhilarating moment. We open in the clouds, music building, then slowly descend onto the water to reveal John and Shaun flying across the water. I really can’t say enough about how incredible that moment was, the entire opening sequence was complete joy and put a huge smile on my face.

From a narrative point of view, last episode was the darkness before this wonderful dawn. It was a test of faith and the three foremost believers, Kai, Butchie, and Cass, all passed the test, waiting for John and Shaun to return and being rewarded by the vindication of their faith. This obviously has some Jesus parallels, but unlike Jesus, there seems to be no limit on Shaun and John’s return, their absence was not about suffering themselves, it was more about helping those around them to fully come together and work as a family and community.

Everything is restored and for the first time in a while, the whole family is reunited. Shaun says that it’s time to move out of his grandparents’ house, to be with Butchie and John. At the beginning of the series, Mitch and Cissy were constantly insulting Butchie for his failure to be there for Shaun. This came out most heavily after he didn’t show for the surfing contest where Shaun was injured. Cissy and Mitch take it as a criticism that Shaun would want to leave, but I think it’s more a reflection of Butchie’s growth.

It’s also significant if you view Shaun as part of the healing trinity, with John and Zippy. Butchie claimed that it was only the presence of Shaun that kept Mitch and Cissy from spiraling off the deep end. He was there to heal them, and now that work is done. The rift with his mother is healed and he can move along. Throughout, Shaun has been a healing and unifying force. We see this in his behavior with his mother, always being affectionate and opening the door for her to take a larger role in his life. The character frequently seems passive, but he is instigating a lot with Tina, and that has helped to heal her.

As I mentioned last week, one of the series’ essential themes, and the key to understanding this episode, is the notion that John is there to heal all the characters. They’re all carrying around past sins that have crippled them, and he is the catalyst for events that will allow them to move past the pain and reinvent their lives. In this episode, Cissy finally accepts Tina, and secures her a place in Shaun’s life. This helps her move beyond the guilt she felt for leaving Shaun so many years ago. It was the healing of Shaun that set this possibility in motion back in the second episode.

Concurrent with this, we’ve got the lengthy sequence where Linc interrogates John, and John tries his best to convey his father’s message. This is where things started to get a bit confusing for me; there are elements that I can’t reconcile, and may not be reconcilable with the material we’ve seen. After all, the show has not been canceled, and Milch has to leave something open for a second season. But, a lot of what he says here does clear things up. The first line of his speech, repeated here, “If my words are yours, can you hear my father?” clicked for me when he said it. It builds on what Butchie and Kai were talking about last week, that he repeats what we say to represent concepts he doesn’t have words for. He uses our words to tell us about his father. That’s a central piece of knowledge to help understand what he’s doing throughout the series.

Much of this dialogue consisted of revisiting the speech, explaining some of what he said there. But, things are a bit more ambiguous when you consider what he says may actually mean other things. I’m particularly wondering about what Cass’s camera means. It could obviously refer to her camera, but is there a larger significance? The way I’m seeing it now is that Cass’s camera is a metatextual reference to the filming of the show. So much of the episode was shown from the perspective of her camera, and it was piped into the Internet café in a way that was technically impossible.

In the café, Dwayne and Jerri are turned into viewers of the exact same action we’re watching on TV. It would make sense to use Dwayne as an audience surrogate, for the viewers who are on the Internet trying to figure out what’s going on. If Cass’s camera is the world of the show, then is Dwayne the fanbase surrounding it? Is the Internet big because that’s where the show lives on and develops? One could easily interpret ‘his visit’ as a visit to us. Every week, we check in with John and these characters, existing on the fringe of their world, seeing it only through a camera, like Cass does here. She seems to have lost her own self and taken on another persona, something that would be possible once she’s aware that she is creating the world around her through her camera. Notably, all of the things that John said would happen in Cass’s camera in his speech, did happen on the show, in one way or another, supporting the notion that it’s a metatextual reference.

If we read things that way, does it explain who John’s father is? I don’t think Milch is breaking the fourth wall to say that he is the ‘Father’ who gives John words. That would reduce John’s mission to something that’s only relevant in their fictional world. I think the ‘Father’ is God, or at least some pure essence of goodness from which all things flow. John is his messenger, speaking for him without knowing exactly what words to use. The idea of his father having a father is a question you could ask about God, and is not something that’s easy to answer. If you read the scene as John being a messenger from God, then his inability to answer questions makes sense. That’s not something that our words are capable of doing, it’s an idea that’s bigger than any of us.

The greatest ambiguity of the episode for me is the nature of the car dealer. He speaks in the same way as John, using a lot of the same language. The implication is certainly made that this man could be John’s father, which would explain why John took them there to buy the car. The other explanation, and the one that I’d argue makes more sense is the notion that John’s message is spreading. Last week we heard other characters making reference to “big” and “huge” events. This could be symptomatic of a larger change, even people not directly connected to the family are speaking the way John does. During the parade sequence, the groundwork is certainly laid for an expansion of John’s message, and that seems like the most fertile ground for a potential second season.

One of the things I like about the episode is the way that it brings everyone together. Earlier, I assumed that Linc and Tina would pose a threat to Shaun, but it turns out that they, and Jake Ferris, are working in his best interest, just in a different way than the others. Linc’s exploitation of Butchie was the catalyst for all the Yosts’ problems at the start of the show. This is something he makes explicit in his speech. I was wondering why that speech was going on so long, and it wasn’t until after that I realized why. He had not faced up to being the source of so many problems; here he does, and he also hands over the company to John and the Yosts, letting them take control of their own destinies. We finally get that happy family tableau that was first glimpsed during the speech — things aren’t perfect, but they’re okay.

Tracking back a bit, the entire parade sequence was a bit out of nowhere, but fits with the oddness of the show. The best part is Bill’s outrage after he’s arrested while trying to coordinate traffic. The parade serves as a celebration of John’s message, and something of a coming out party for his agenda and the family in general. The critical thing here is the fact that Stinkweed has been turned into an engine for spreading John’s message. His symbol, the line and circle man, seems to be part of something larger. It is his sigil, and through it, he can spread his agenda.

Now, this may be projection, but I feel like the next step in John’s agenda is forming a kind of army to help spread his message. That’s the reason he comes back in fatigues, and also why there are the constant terrorism references when discussing his mission. Cissy continually refers to him like a terrorist. It would make sense that God would send his own warrior to counter those who kill in his name, only instead of fighting with violence, he fights with love.

I think the show is largely centered around an examination of what it would be like if Jesus came to Earth today, and using that framework, it would make sense John would use a major corporation to spread his message. He converts his disciples, and by putting his logo on everything, he will help to spread the message. Last episode, we saw one stick man becoming two becoming many. That is what Stinkweed will do for John — rather than selling the bad boy image, they will sell the ultimate good.

The one misstep of this episode was the Freddie and Palaka storyline. While I’ve loved the constant character additions, at this point, we really didn’t need a lengthy scene with two people we hadn’t seen before. The storyline took up too much time, and didn’t feel as urgent or exuberant as the rest of the show. But, I do like the resolution, in which Freddie gets out of crime, inspired by the events he’s witnessed over the course of the series. That fits in perfectly with the themes of the series and the journey the character has gone on over the past few episodes.

The final scene of the episode has Bill finally confronting his demons and going upstairs for the first time since his wife’s death. It’s a wonderful scene, no one can do monologues like Ed O’Neil on this show, and it also marks the resolution of his character arc. This great pain he’s carrying around is finally on the way to being healed. His journey is similar to Barry’s; they must confront a space that horrifies them, and when they finally go in there, they realize it’s not so bad, and are free to move on with their lives. The return of Zippy is a wonderful moment, Bill had to prove he could do things without Zippy, and now that he’s succeeded, Zippy can return.

But, there’s still some major things to ponder. In the brief, 16mm-style sequence, we get another voiceover from John that’s just baffling. I think the point is to give us a final blast of weird information to keep us pondering. The most odd thing is first, that Dr. Smith goes to Cincinnati and comes back twenty years younger. This raises a question about what Cincinnati is. When he returns from the water, John says that he came back from Cincinnati, and Shaun says that he only remembers what they wanted him to say. The opening sequence, and the logic of the show, suggests that Cincinnati is heaven, where John’s father resides. So, it’s possible that somehow Dr. Smith wound up there and came back younger. Smith was the first person to be dazzled by what happened to Shaun, and it would make sense that he would receive a special reward from John’s father.

The rest of the speech is as follows: “Cissy gets knocked up. She's bigger than Leona Helmsley. Earth puts Dickstein on retainer; Daphne keeps his head straight. Jerri meets a slew of new hairlips. My father forewalls (four walls?) Barry's bar. Dr. Smith trains Dwayne and Ramon. My father freelances in Cass' camera."

I’m not sure what the significance of Cissy gets knocked up is, but Leona Helmsley was renowned for being mean, so it would make sense to associate the character. Perhaps he’s saying that she has moved on and is now “bigger” than Leona, in the sense that she has more important priorities. I couldn’t tell you.

"Earth puts Dickstein on retainer" would seem to relate to his mindblowing, and just blowing, experience earlier in the episode. Something happened there, which ties back to a comment John made in the pilot about the significance of the lawyer getting a blowjob. So, he has been given a new path, the universe has spoken to him and put him to work. I’m not sure what forewalls, or four walls, means in this context. It’s a place where John’s father seems to have a major influence, but I couldn’t tell you what exactly is going on. Dr. Smith training Dwayne and Ramon would mean that both of them will work to help heal people.

The idea of his father freelancing in Cass’s camera is an interesting one. If we continue the metatextual reading, it’s arguable that his father could be appearing in various guises throughout the series. That would reinforce the idea of the car salesman as John’s father. What is definitely clear is the fact that God is present in various moments of the characters’ lives. That what Dr. Smith and Barry referred to last week, his ‘freelancing’ is what helped them to get the clinic and bar going, the “hallelujah chorus” that Smith referred to.

And what of Mitch’s levitation? I read online that it’s meant to be a metaphor for his distance from his family. It certainly works on that level; John made him to levitate to show how he’s losing touch, and at first, he wants them to leave, not pull him down. But, eventually Butchie and Shaun do, and the family is healed. I love the moment where they’re all united cracking on the guy who yelled at Tina a few episodes ago. I also love the fact that he returned, further tying the community together.

One more lingering enigma is the Chemist. He seems to be in touch with what’s going on, and when he stares out at the stadium thing, he knows that’s where the message is coming from. He’s the only one with the perspective to recognize what’s right in front of them all.

And at last, we come to the initially baffling final moment, a shot of Cass and John’s narration: “Mother of God CassKai.” Now, this is a tough one. John has equated Cass and Kai previously, as has Cass herself. I would argue that the reason he calls them the mother of God is that they are the first two women to follow his teaching. So, they will birth his God out into the world. We previously saw them equated during the end of last week’s episode, where they’re both watching Butchie out in the water, waiting for Shaun. They each have had contact with John and each have “seen God.” They are the people John confides in, and are best able to understand him. Each grow frustrated by him at some point, but ultimately are in awe of his abilities.

This episode shows John taking the first step in spreading his mission to a larger world. He has saved the Yosts, and they shall be his representatives, but the ones who had faith in him from the beginning were Butchie, Shaun, Cass, and Kai. They are the core, and that is the reason that CassKai is the mother of God. That said, why is this the end of the show? We’ve spent so much time talking about John’s father, it would be logical to address the mother. Both have seen God, via John, so they shall carry him out into the world. He showed no one else that vision, they are special. And, it is through Cass’s camera that his word is spread out to us, the audience of viewers parallel to their universe.

From here, John will spread his message, and if there is another season, I’d imagine that will be the focus. After all, we are all one larger organism, and more people need to realize that. When they saw God, it was other people, so why not save the entire universe?

Will there be another season? I don’t know. I’d love to see it, but all we can do is hope. If this is the end, it went out on a fantastic note, and I feel satisfied with the ending. All the major plot and character threads are resolved, but the door is open for more. This series has been a masterpiece, leaving me in awe every week, and now that it has wrapped the season, I can confidently say this one of the best pieces of art to ever air on television, and I want to thank everyone involved in making it for bringing something so uniquely powerful to our world.

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About Patrick

  • Nice to know I’m not the only fan!!! Bring john back. I love salmon

  • I believe the new season of The Wire is only ten episodes, as is Tell Me You Love Me, so maybe HBO is just cutting back in general. But, that could definitely have resulted in some compressed storytelling. I also read an interview with Rebecca De Mornay from before the finale where she talked about scenes where Cissy gets injured, so clearly there was some alternate stuff filmed, perhaps the DVD will illuminate things.

  • babeeblues

    Regarding the card dealer: I agree he seemed to be a significant and strange, portentious fellow.

    The HBO Episode Guide states: “John’s El Camino dealer is clearly not your typical used-car salesman; he comes off more like John’s supervisor, repeatedly telling him, “I took you offline, Country.” His interactions with Linc and Jake probe similarly bizarre territory, referring to the Yosts’ family problems and warning, “Not one damn minute to waste.” John produces $15,000 in cash to pay for the El Camino.”

    It’s no small matter to have taken John “offline”, and no mean feat. Nor to provide “El Camino” and to come back at Link and Jake that he’s got far more dealerships or whatever than they grasp, or perhaps even could; and to have some of the grabbag omniscience as John shows. I agree he doesn’t come off as an especially benign figure, as I’d expect John’s “Father” to be; but a supernatural one, yes.

    Patrick’s comments about Cass/Kai are thoughtful, incisive, as with so much else. My recollection is that these were the two characters who were overwhelmed with full-blown visions/revelations — Kai after John implored her to “See God.”

  • babeeblues

    Many thanks to Patrick and others who have contributed here.

    One thing I haven’t seen mentioned anywhere and I could be wrong, but some things lead to believe that HBO not only declined to pick up “John” for another season but cut the season we have a couple episodes shorter than originally planned.

    Has any HBO series had a normal season with less than 12 episodes? Wasn’t it only very recently that it was announced “Big Love” would be moving back to Sunday nights after the finale of John for the remaining Big Love epidsodes?

    This may explain some loose ends, some characters/plot lines that got introduced but seem to have been short-changed, underdeveloped, left hanging — and not necessarily by design or preference of Milch and his creative team

  • JFC was probably the best show on TV in a long time…. what a great art work… on every level it was surpurb…the main YOST family, John, as weel as the supporting cast.. and the writing was so amazing … hopefully it will be acclaimed for what it was.. wonderful… I will continue to watch it time and again …each time doing so I pick up a new thought…it is so sad that the mass audience did not take the time or the thought process to understand the deep enrichness of JFC.. it is their loss.

  • Good analysis. Here’s mine – just came to me about 15 minute ago … John from Cincinnati is … Neo in the Matrix! … it makes sense … explains the computer/Internet stuff … how Shaun was brought back to life … where John and Shaun were day before last … I give this a slight higher than 2 percent chance of being right … still…

  • jb

    “four-walling” in a theatrical rental term means to take an empty shell (of a theatre or studio) and re-equip it yourself from scratch, to your own specifications, for your own purposes.

  • And to everyone else, thanks so much for the positive comments. It’s great to know there’s other people out there who dig the show and understand what Milch was trying to do. I’m writing up another post, a post mortem for the show, as we speak. So, look for that soon.

  • This seems more like a fansite of the show rather than an impartial blog review of the series. Im sorry, but thats just my opinion. The show was universally hated by critics and viewers alike and I cant believe that 13 of the 14 comments all love the show. Obviously most of the negative ones were deleted. Probably like this one will be.

    re #16: None of the comments are deleted, but I imagine most people who don’t like the show stopped watching and aren’t going to read a 2500 word review of the last episode just so they could say how much it sucks.

    I’m not particularly interested in impartial reviewing, particularly for this series. It’s so full of rich thematic concepts and ideas, in writing, I hope to fully understand them myself and convey that understanding to others, and help them appreciate the show, or at least understand it in a new way.

    I’d agree the show wasn’t well liked, but since when is popularity the best judge of art? Once the show is separated from Deadwood’s cancellation, and the disappointment surrounding that, people will take a fresh look and realize what a powerful piece of art it is.

  • The Dylan song is “Series of Dreams,” available on the albums The Bootleg Series and also Greatest Hits vol. 3.

  • Camel Jockey

    Does anyone know the title of the Bob Dylan song in episode 10?

  • Bill B.

    This show was critically divided, but it certainly wasn’t universally hated. Entertainment Weekly loved it as I’m sure many other critics did too and it certainly had a public following as this site indicates. I thought it fascinating, though at times frustrating. That frustration may have been due to my own inability to grasp all that was happening, but I sure did enjoy the trip. Patrick’s “review” of the final episode is wonderous and I couldn’t agree more about the opening of the final show. It was completely exhilarating and one of the finest cinematic moments I’ve ever seen put on TV. I will miss this show, these characters and many of these actors. These are career highlights for Nichols, O’Neill and especially Van Holt.

  • PPR

    Love this show, dont cancel

  • JLM


  • Sorry to be the one to break the news, but HBO announced the cancellation of John from Cincinnati today. 🙁

  • Oh, and Patrick – this was good. You covered so much, I don’t know how you did it.

    About the car salesman – yeah it took me a few minutes to realize he was speaking like John. Then when he said for the second time (to John) “Hey, I took you offline” – I realized what that really meant. It was his turn to give the message.

    I like how the stick figure (turned into Stinkweed’s logo) was made of of a “zero and ones” – as in the 0s and 1s (binary?) from Cass’s camera – meaning both the imagine she unwittingly filmed of John with the stick figure behind him on black sheet – and the technology that produced the images.

    This is definitely the kind of show you need to sit around in a bathtub to figure out (like in Animal House)

  • to Matt (#16)

    Where do you get “universally hated by critics and viewers alike”

    I’m sure it wasn’t loved universally either – but it does have a good following.

    And comments are never deleted if they disagree with the post – ONLY if they are abusive. (No personal attacks allowed, etc…)

  • jas

    Patrick’s review is right on and informative. I think the camera is the modern day Bible. She is to film and post on the internet. This will capture the teachings and message. She is “writing” the next Bible.

  • Paul

    @15 ‘I too thought “father” during the car dealer scene. Notice also that the deleer refers to John as the “Country”. Perhaps merging that with the constant references to terrorism, 9/11 and the “towel heads” referred to by John might yield interesting results.’

    I felt the “country” reference was shorthand for “country boy” or someone unsophisticated. The dealers additional comments about “high performance”, etc. bear that out for me. He also seemed to be commenting on the lack of sophistication in other of John’s ilk. From that, I’d take it that the dealer is part of the Father’s crew rather than a recent recipient of “the message”. There’s also his quote regarding “mother/son handjobs” – not sure that would be part of a healing message!

    Thanks for the great summary.

  • I love this show, but I think overanalyzing it spoils it. And I can certainly understand why some viewers like Matt were alienated.

    But I prefer to think of it like David Lynch, 2001, Antonioni, Andrei Tarkovsky, and yes, the final Sopranos episode. There may have been a specific meaning and interpretation intended by the filmmakers…but I’d rather not hear it. John from Cincinnati is beautiful as is. “Interpreted,” especially poorly interpreted, it becomes far less interesting.

  • Carlos

    Did anybody see the game on the floor with the numbers 9 11 14?

  • Matt

    This seems more like a fansite of the show rather than an impartial blog review of the series. Im sorry, but thats just my opinion. The show was universally hated by critics and viewers alike and I cant believe that 13 of the 14 comments all love the show. Obviously most of the negative ones were deleted. Probably like this one will be.

  • Rob

    Very inciteful reading of this dense and beautiful show. I too beleive this may be the finest televsion since Twin Peaks and better than Milch’s Deadwood.

    I believe Patrick is right that God’s message will be distributed by Stinkweed and his interpretation of the meaning of the stick figures. However, I beleive Cass’ camera is not a metatextual reference, but rather the way in which John’s message will be spread to the masses (the antenna array one wise reader pointed out that the Chemist was staring at). She will document whatever it is that the John, Shaun, Butchie and Mitch adventure will bring to the world.

    I too thought “father” during the car dealer scene. Notice also that the deleer refers to John as the “Country”. Perhaps merging that with the constant references to terrorism, 9/11 and the “towel heads” referred to by John might yield interesting results.

    Re: 9/11/14 – obviously this could refere to 7 years down the line (perhaps as far as Milch planned- second coming?) or else the biblical reference to the “blood of Christ” and the suffering for humanity’s sins.

    I would, howeer, say it is safe to conclude that John is not Jesus as he is clearly not human and does not undergo the suffering a human does. And he would know how to communicate.

  • Great review, and some wonderful insights – regardless of whether or not they are Milch’s actual intent.

    One correction though, that’s not a ‘stadium thing’; it’s a very high frequency antenna array used by the Navy to intercept intelligence communications as well as locate their source. They pick up signals from ships and aircraft and then determine the location by triangulating with other arrays (The Navy runs 9 of them located throughout the world’s coasts)

    This particular one is located at the Naval Base in San Diego – I’ve actually seen it fairly close up and it’s huge.

    They call the array type a “Classic Bullseye” style because the array is circled around the listening post (located in the center).

    I’m sure that brings a whole new meaning to the symbolism that John and the Chemist seem to go there for a purpose.

    I hope this info helps you and other fans out.

  • kevin

    What about the “we are coming on 9/11/14” statement made by John during his discussion with Linc!? Anyone?

  • Eric Olsen

    wow Patrick, what a sensational, deep survey you have provided of the series – I can’t thank you enough. Though I am not as completely sold on the “product” as you are, we watched it faithfully, even compulsively and there were many moments of hilarity, insight, and even wonder. I probably prefer a little more bones in my stories — the metaphors upon metaphors can hurt my head — and piling narrative obliqueness with so much opaque dialog was perhaps too much of a good thing. But some of the performances was stunning — particularly Ed O’Neill, Brian Van Holt, Greyson Fletcher, and Paul Ben Victor (cast list here).

    Thanks again Patrick, you have performed a real service

  • Congratulations! This article has been selected for syndication to Advance.net, which is affiliated with newspapers around the United States.

  • Lauren

    Thanks so much for yet another brilliant write- up. I share your in your sentiments about how this show is easily the best piece of art yet to be created for television.

    I really hope this isn’t the end although I did read [off the record] that it will be canceled, which stinks. I would love to see more of John, the Yosts and the rest of this fantastic cast!

    Thanks again for your fantastic analysis Patrick.

  • D.J.

    Amazing summary. You had me look at this finale in an entirely different way which tied up some loose ends in my head. I need to watch this episode again!

  • I just read your blog and I totally agree…I think you are dead-on..I hope that they bring this show back..along with Deadwood and Carnivale…

  • rusty

    From the Double-Tongued Dictionary;

    fourwall, v. to pay for the right to entertain at a theatre or on a stage. Subjects: English, United States, Entertainment, Jargon

  • El Camino

    I thought,at the time, and checked to be sure, and El Camino is “the road” or, if you will, The Way. And John says that Linc is the El Camino. He provides the way to reach others.

    I am gonna be seriously disappointed if this show doesn’t return.

  • Great overview of the last episode! Thanks so much for posting. The beauty of Milch’s work is his ability to create characters that are inherently interesting and compelling — outside the confines of plot.

    In your essay you’ve captured what so many reviewers/commentators have missed by providing the bigger picture and linking it together. Great point, too, about Milch’s ability to bring out the best in the actors he relies on. Who knew Ed O’Neil had those chops?

  • Anthony B

    Amen, my brother

  • Dane Janeiro

    The parade was one of the most brilliantly stages comedic sequences in television history. The obvious allusions to Christ entering Jerusalem on Palm Sunday were brilliant!

  • Sean

    In the words of the immortal Crow T. Robot:

    “A scene is always more exciting when you have no idea what the hell is going on!”.

    I guess I am just not as in touch with the universe as everyone else, but I leave the season finale feeling like a Rube that’s been taken for a ride by Carnies.

    Open narrative and a total lack of narrative are two different things.

    Introducing new characters and stories while totally abandoning others mid-story?

    How very profound.

    To leave on a positive, I feel the show was interesting, and Ed O’Neil has shown himself to be just a brilliant performer.

    The warmth and sympathy he brought to “Bill” was just wonderful.

  • Savannah

    Thank you for an excellent and insightful take on the very satisfying finale. I loved it, and was equally exhilarated with the opening sequence as I was when Zip returned. I will need to own this season/series? on DVD so I can watch it again and again to be filled with hope. Milch is a genius, and I believe he accomplished exactly what he set out to do with this series.