8/15/2023 0 Comments Origami risk tv![]() America is warm and soft and sweet America loves to consume and be consumed. She seems like someone who’s been starved - not just for food but for pleasure. She wants to go out, to see the sights in America. She is also hungry for Milky Ways, which she eats with great enthusiasm. She is happy to do this, because she is hungry for America. Zinaida says she worked at an institute that reported to the Soviet leadership on geopolitical issues, and the Americans want to send her on a media tour to talk shit about the Soviet Union. Her name is Zinaida Preobrazhenskaya, and she is a Soviet defector. It feels like science fiction for a second, like an alien emerging from cryosleep. A forklift lowers a box to the floor in front of them, and when they pry it open, a woman emerges, gasping desperately from a mask connected to an oxygen tank. Somehow, I think Moscow is starting to doubt his commitment to Sparkle Motion.Įlsewhere, five FBI agents in matching trench coats stand in the middle of a warehouse, like wax-faced color swatches carefully arranged for maximum, billboard-friendly drama. After all, the only reason Annalise got involved in the first place was because he didn’t want to use Elizabeth, and his angry refusals to tell Paige the truth about her heritage feel increasingly like a slap in the face to both Elizabeth and the KGB. Philip is becoming one risk-averse motherfucker when it comes to his family, which makes him a big liability as a spy. When Yousef and the agent take off in a car, Elizabeth tails them to a bar, angering Philip, who insists her play was too dangerous. Philip convinces him to meet up with the CIA so he and Elizabeth can finally figure out which agents are working in the Afghanistan group. What’s remarkable about the way Philip flips Yousef is the absence of force: Rather than threatening, he simply behaves as though Yousef has already agreed to do what he wants, and in his shock and terror, he simply does. They fold her into a terrifying piece of human origami and roll her out in a suitcase. Elizabeth and Philip regard the pile of bones and skin in front of them with the clinical eye of a carpenter, as though she is simply a collection of hard edges and angles, a puzzle of flesh. When you break a bone, or at least a big one, here is exactly what it sounds like: a tree branch snapping in half. And that is exactly what they do for several minutes, and it is horrifying. Philip calls Elizabeth, who shows up with a large suitcase, although not large enough to hold a body - unless, of course, you snap it into pieces. ![]() He hands Yousef a cold bottle of beer, the way you do when any pal shows up at your house, and then heads out the door to take care of business. “As long as you let me do what I do, it’ll be okay,” promises Philip, who still has not identified himself. Philip, who suddenly materializes to rescue her killer like a magical murder angel, rushes Yousef into another hotel room and assures him that this whole strangling-a-person-to-death thing is going to be no big. ![]() This week they’ve been tasked with the body that used to be Annalise, a woman whose tragically basic blend of insecurity and self-importance has proven fatal in a game she was never really equipped to play. It’s often easier to think of Elizabeth and Philip as soldiers, especially when they’re disposing of corpses. The difference, arguably, is that a con artist destroys people for profit, while a spy destroys them for something much larger: their country. They’re both professional deceivers, men and women whose entire craft revolves around forming bonds with people specifically to manipulate and betray them. On the outside, there isn’t much difference between a spy and a con artist. ![]()
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