Has a Broadway producer been demonically possessed?

The first episode not written by the show’s creators continues to expand the scope of this show, and perhaps suggests that when it’s investigating the darker side of things – rather than the miracle that was the focus of last week’s episode – it may be more on point. Rockne S. O’Bannon’s script begins with an explanation of the different kinds of possession (and gets the full 360-degree head turn into the series a lot earlier than I thought it might appear), before introducing us to the great John Glover as Byron Duke, a Broadway producer who seems to sweat blood.

The plotline involving him spreads to involve all the key members of David’s team as it seems that Duke’s personal assistant (the electronic kind rather than human) has become a conduit to the netherworld. (And what’s with Hell being 3,500 miles from New York?!) As with the investigation into the angel, the debunking by Aasif Mandvi’s Ben only ends up posing more questions – and along the way opening up our understanding of his family set up. This particular plotline I suspect will be returned to, given the events of the last few minutes (Gloria Muzio’s direction handling what could have been a melodramatic scene in a very appropriately matter of fact way).

Katja Herbers’ Kristen has issues of her own to deal with, as Michael Emerson’s Leland Townsend seems determined to destroy her reputation. The choices she makes emphasise that this show isn’t just dealing with the polar opposites of good and evil – sometimes you have to use the enemy’s tools… but I have a very nasty feeling that those choices may bring Kristen short term gain, but long term loss. Emerson and Herbers bring a real power to their scenes together and their confrontation (almost by proxy) in the courtroom is one of the highlights of the episode.

Another longer term thread also gets some time, with David’s vision being linked to the Salvator Mundi – and thence to an unusual link between three large US cities (via the 3 Stars of the title). I’m hoping that this isn’t going to try to tie some sort of Omen-esque birth prophecy into the already-spreading mythology – although on the evidence so far, I think the producers and writers would have a new take on it.

Verdict: Strong writing, acting and direction make for an engrossing hour. 9/10

Paul Simpson