She traveled there to save him, finding the cross on Sweetheart Hill where Scott buried his brother Paul. The cross-cutting isn’t helping Lisey’s Story, draining each thread instead of tying them together. The rain stops and Paul is dead. Imagine a premiere episode that is just young Scott and his crazy dad. Or is this the kind of story a child tells himself to reconcile child abuse and even homicide by his father? Tags: Someone sees Lisey and tells her that she doesn’t belong, leading to more people shushing her, which happened to Amanda a couple weeks ago. They escape just in time. He calls Dashmiel, who tries to bring his rabid dog home, but it’s too late. Let’s hope it comes together in the final three — or else Lisey’s Story may be a footnote in Stephen King’s film and TV career. She texts Darla to say that she can help Amanda. Scott says that Daddy couldn’t save Paul. Terms & Privacy Notice
By submitting your email, you agree to our Terms and Privacy Notice and to receive email correspondence from us. He got so strong that he could pull a tractor with the chain around his neck. He’s stuck in flashbacks, telling stories from his childhood with unearned emotion that we then see play out. It’s an episode that’s really more about Paul Landon than Lisey Landon, and it’s another repetitive hour that offers little beyond a few strong performances (Michael Pitt, in particular) and solid craft (cinematographer Darius Khondji is still doing everything he can to keep this entertaining). It’s a problem of the source material too, but one might have hoped that Pablo Larraín and Julianne Moore would find a way to give Lisey Landon more dimensionality than being a sounding board for Scott Landon’s creativity and supernatural powers, but that’s not really happening. The show plays it pretty straight, but the thematic gray area remains. It doesn’t go well. What is the story of Paul Landon? • ICYMI: Jim Dooley is so intense that he doesn’t take his shoes off on his bed. False advertising of the title aside, Larraín and Stephen King clearly leaned into the “it’s more of a long movie than a TV season” epidemic of modern television, and that decision has not been to the show’s benefit. One of the more notable and increasing problems with this show is how little we still know about Lisey Landon. He sees shape and form here that another writer would have been able to clarify more for the audience. It feels like he’s struggling, a real shame given his talent. He speaks about just being gone or being remembered, which is an interesting theme given the origin of the book, which came after a nearly fatal car accident for Stephen King, probably at a time when he was considering his legacy more than ever. After they returned, Paul turned more and more violent, and he suddenly chases Scott, cutting him with a long nail. There’s also the growing sense that King may have been the wrong choice to adapt his own work. We could get to know the characters better instead of jumping around in time and having so many instances wherein one character explains something that we then see in flashback. Interestingly, this seems to make Scott’s powers more pronounced — read what you will into the idea that tragedy makes better writers — and he can pretty easily take Paul Landon to Sweetheart Hill to bury him. Paul would try to entice Scott with a Bool Hunt that would end in a candy bar and an RC if he let him loose. Or is it? Lisey’s Story
The Good Brother

Season 1

Episode 5

Editor’s Rating

2 stars



Photo: Apple TV+

“The Good Brother” really stretches the title of Lisey’s Story given how much it sidelines the title character to learn more about her dead husband. The feeding process got more intense as Paul got more feral, and they would dose the young man with ketamine. Each installment bleeds into the next, making them feel unsatisfying in a weekly format. And she walks into her pool. I think it’s more King/Larraín’s fault, but Scott Landon feels like a non-character, even as he steals focus from the title one. A decision is made: Sedate Paul and take him to Boo’ya Moon. It’s such a generally formless and shapeless story that an episodic structure would have helped ground it a bit, but these episode breaks barely even register. I particularly loved the shot from where the chain meets the trailer, the metal links in focus and Paul writhing out of focus in the background. A montage of images from the first four episodes ends with a line heard twice in the last quarter of the episode: “If you ever need to go, remember, water is best.” Lisey trudges inside, gets supplies out of a drawer, and even grabs her trusty shovel. Of course, the Long Boy hears the ruckus and goes after Lisey and Scott. Paul is demonic at this point, attacking a screaming Scott until Dad shoots his oldest son. VULTURE NEWSLETTER
Keep up with all the drama of your favorite shows! “Lisey, be careful,” Amanda whispers, as her sister dives under the surface. She sees Scott there, and they watch a vision of their happier selves dancing on their wedding day. In another layer of flashback, Lisey finds the syringe that was used to sedate Paul by the cross where Scott buried him. Scott’s Epilogue

• Who does “the Good Brother” refer to? Probably Scott Landon, given the animalistic portrayal of Paul Landon, but Scott himself may say that it’s about his brother before he was turned “bad.”

• I love Clive Owen — he’s been underrated most of his career — but he’s just not working here. Jim goes through the papers stolen from Scott’s property, taking the time to smell the paper that his icon touched. Did the Long Boy poison Paul Landon? And then a second episode that fills in Scott and Lisey’s life that leads up to their memorable honeymoon. Dad talked about the Landon Curse, which is “also a blessing,” of course. Lisey, beaten badly by Jim, sits by her pool, remembering the time she had to save Scott Landon from Boo’ya Moon. He got “the bad.” And so Scott and his dad trussed up Paul like a pig. Jim lies about never laying a finger on Lisey and tells Dashmiel that it’s too important to stop. A child who could visit a world that took away pain and got infected by what’s left in that place. And then the episode dips into another layer of flashback as Scott conveys the story of the final month of his brother’s life. • On that note, a wild restructuring might have been more effective for everyone involved. It opens with the only shot of Darla this week, sleeping with a gun next to her pillow. Email

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Terms of Service apply. And she makes it to the shore on which her sister now sits in the present day. Back to the truly cluttered flashbacks within flashbacks within alternate planes of reality of the last episode. They left Paul in the barn, screaming, for three weeks. It’s just too bad that a show with such a great cast and so many great ideas can’t blend them all in a way to match that craft. After all, the world is waiting. • To be fair, Lisey’s Story looks great.