Written by John Edward Betancourt These days whenever we tune in to enjoy our favorite television shows, we are fully aware of the fact that whatever episode we are enjoying, is going to make an attempt to teach us… something. Simply because in this era of peak television, lessons and commentary about our world go hand in hand with storytelling and that is definitely enhancing our viewing experience for certain. Since it is adding incredible depth to a medium that was once considered to be fluff. But what’s fascinating about this change to how we view and enjoy television, is that sometimes you can tell that not everyone is comfortable with it just yet behind the scenes, as evidenced by how the lesson might be a touch more topical or it is handled in a semi-serious manner, and it makes sense as to why. Because the bare beginnings of something this fresh, would indeed motivate creatives to take it slow and easy, out of the worry that too many concepts and themes might overload an audience or turn them off. When in reality, the lack of push back on such matters in the first place, speaks to how little a problem the audience has with being tasked with deeper storytelling. And slowly but surely, we are starting to see shows sneak in more themes and braver explorations in an effort to give the audience what they really want, and one such series that has managed to master this already… is Queens of Mystery on Acorn TV. For writer/creator Julian Unthank tends to inject more than one lesson/concept into the mysteries that the Stone family works to solve and for proof, then look no further than the show’s season one finale. For ‘Smoke & Mirrors, Final Chapter’ is a story that changes gears and uses the hunt for the killer to explore a vastly unique concept. One revolving around how the power of ego and our desire to be seen can drive us to do horrible things. Which is indeed a far cry from where this story started out. Since the first chapter in this tale, focused heavily on the power of the past and how easily it can influence our future. But that just speaks to the wonder of this series and the script that Julian wrote, and this episode accomplished this incredible feat… by revealing the true identity of the killer of Sir Lawrence Shaw and Quentin Glover to be… Dame Blanche Chastain. Whom decided to take the lives of these men, because she was furious at being an understudy in a production run by her ex-husband no less. For she firmly believed she had plenty in the tank left as an actor and could have made the show infinitely better in the leading lady role. But alas, she was sidelined and marginalized, and with her pride and ego in tatters, she initially attempted to bring down Amy with Quentin’s help. But instead, Sir Lawrence stepped into the firing line and paid the price and of course, with so much knowledge in hand, Quentin had to go too. All because Blanche needed the spotlight and needed value since she had none internally and that is a powerful and fascinating way to end the first season of this series. In large part, because that kind of shift in tone in the back half of a story is revolutionary for certain and puts forth the blueprint for other shows to follow. But also, because, it hammered home the lesson courtesy of a magnificent ending. One that gave Blanche what she wanted, whilst dooming her at the same time… giving her a pyrrhic victory of sorts and bringing this season to a close in a satisfying and bittersweet manner. Because we’ve reached the end of the journey for the time being, and all we can do now… is wait patiently for news of a season three and this writer hopes we get that. Because this really is quite the unique and wonderful show and we need more of these quirky and intelligent adventures, ones complete with homages to the classics, since Blade Runner clearly influenced the play in this tale. But while we wait for that good news, at least we can take solace in the fact… that we can revisit all of these cases in the meantime, and all of the delightful moments they send our way.
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