And if, in this instance, it wasn’t specifically males right there getting a good look before they turned away, tacitly giving the viewer permission to enjoy the view as well. If the women’s injuries and bodies were shot the way the men’s are, it wouldn’t be too bad, but they aren’t, despite the amount of time that Joel Kinnaman spends naked. I would believe that this was being shown as a cautionary tale of what we could become, if the camera didn’t linger so long, and the shots weren’t so pretty, turning this into porn and even sick art. Instead he told his son that they couldn’t help her, and to turn away from evidence of suffering. In case you didn’t get the message, women are exploited and victimized in this world, and it’s so normalized that the father didn’t even try to shield his young son’s eyes from seeing a nude woman, a dead body, or a brutalized woman. The underwater image of the helpless dead woman, shot from below so we’re looking up into the silhouette of her private parts, making her even more vulnerable in death, is an image that will be returned to over and over again this episode. The live women don’t get this treatment from the cinematography, especially the fully clothed ones. She’s lit beautifully, and the camera shoots her lovingly from above and below. She floats away, the lengths of gauzy white fabric that make up her sheer dress flowing away from her, the perfect image of a helpless, victimized woman. She’s not their problem, and they could get arrested. The child starts to pull the woman into the boat, but his father tells him to stop. Her breasts float higher than the rest of her, to get the required female nudity in, since most of the female regulars must have nudity clauses in their contracts.
It’s shockingly the body of a scantily clad blonde young woman who’s been murdered. The boat and the body end up next to each other. I’m going to call it another obscure Monty Python reference. A body drops from the sky into the bay, literally out of the blue. I’m surprised there is still something to fish for. A father and young son are fishing in a small boat in the bay in the foreground. The episode begins with Kovacs’ voiceover as we see a very pretty view of the Bay City skyline across the bay at dawn.
She spends much of the episode working on a separate, but possibly related, case. Meanwhile, Ortega has secrets of her own. The complexity of the case begins to reveal itself, as hallucination Quell predicted. He begins his investigation in earnest, and considers who he can trust to become part of his team. Having given in to the Quell that lives in his mind at the end of episode 1, stayed awake, and taken the case, Kovacs is left to navigate the world without her, other than as echoes from a long ago defeat. So, there’s a slightly different tone between Quell’s inspirational voiceovers and Kovacs’ nihilistic calls toward violence and conflict. War is the only thing we really understand.” The instinct of violence curls inside us like a parasite, waiting for a chance to feed on our rage and multiply until it bursts out of us.
#ALTERED CARBON CAST ATTORNEY SKIN#
A skin we stretch over the bone, muscle and sinew of our own innate savagery. Peace is a struggle against our very nature. No matter how tranquil the world seems, peace doesn’t last long. Original Kovacs after a devastating loss in battle.
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