Very few of Boardwalk’s characters are as proficient at the evasion of fate. A picture of tired release, it looked almost post-orgasmic. Just look at the moment he takes to recapture his breath after the event. He continued to hammer blows at him long after the desired effect had been achieved, but of course, he wasn’t fighting Knox off by this point he was fighting himself. When Eli savaged the agent, screaming ‘my son, my son’, he exorcised a lifetime of demons. The near-loss of his son was too much for Eli, who feared that both Nucky and Knox posed real threats to take him. Nucky seems able to slip through whatever is thrown at him (even Knox’s plan this week) while the cost is borne again and again by his younger brother. He has accused his brother of envying him, but it’s more mixed up than that. Shea Whigham has been superb as Eli this year, perfectly capturing his anger and frustration at the way his life has turned out and at the slipperiness of his grasp on his own family. ![]() Eli had to beat an entire season’s worth of arsehole out of the guy, and out of himself. The fight itself was necessarily brutal, even cathartic. Agent Knox, or Jim Tolliver, has been such a weaselly, irritating presence that the only surprise in his beatdown by Eli is that his Department colleagues didn’t do it first. The clues are not just in the development of Capone’s gang (now with added Eli Thompson), appearing at the ailing Torrio’s bedside, it was notable how much Stephen Graham resembled the common image of Capone. As we face the fifth, he’s ready to emerge as a boss. We’ve seen him grow from the hotheaded young idiot of the first two seasons to the slightly more considered hothead of the last two. The handover has come at the right time the Al Capone of Boardwalk Empire is ready for his next phase of development. ![]() It took a hail of bullets to convince poor Johnny that the new world that Prohibition had created was a little too rich for an old man and more suited to his young protégé’s singular talents. Farewell Daddy Blues, which takes its name from a 1924 Rainey recording, brings such concerns to their climax and completes the painful dissections where necessary.Ĭapone finally got Torrio’s blessing to take over the business. It makes her a rather handy contemporary reference for a season in which parental relationships have been integral and one in which their eventual severing has been inevitable. Of the ninety-four songs recorded by Ma Rainey, around a tenth mention ‘mama’, ‘papa’ or ‘daddy’ in the title.
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