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   'Task' Is the Show of the Year
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                  <p style="margin:0;margin-bottom:16px">
                   I knew I was 100% locked in on
                   <em>
                    Task
                   </em>
                   by the middle of its second episode. Up until that point, the miniseries—starring
                   <a style="text-decoration: underline; color: #000000;">
                    Mark Ruffalo
                   </a>
                   and Tom Pelphrey as cop and robber, with a vicious motorcycle gang in the middle—had the hallmarks of a solid and promising show, but was not quite unlike things we haven’t seen before, especially on
                   <a style="text-decoration: underline; color: #000000;">
                    HBO
                   </a>
                   . All the standard checkmarks were there: Pensive protagonist, haunted by personal trauma, played by an A-list veteran. Likable criminals woefully in over their heads. Meditative scenes of characters chilling and having Deep Talks. A seemingly innocuous crime that goes heinously wrong at the end of the first hour to set the events in motion. A setting in an underrepresented region of America to give things a little flavor. All well executed, but familiar.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   But once Special Agent Tom Brandis’s (Ruffalo) background research on the Dark Hearts—a motorcycle club being ripped off by a crew of thieves, robberies that threaten to escalate tensions in the street—reveals that one of the members was rumored to be murdered by his own club and we learn that Maeve, surly teenaged niece of Robbie, the guy leading those heists, is his daughter? A whole mythology clicked into place, one that immediately elevated
                   <em>
                    Task
                   </em>
                   from cool, prestige police procedural to Delco Greek tragedy, a tale about the ripples of violence and revenge, grief and loss, and the possibility of redemption, sponsored by Rita’s Italian Ice.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   In that moment, the whole potential of the series and possible places the story could go unfolded before my eyes. And from there,
                   <em>
                    Task
                   </em>
                   exceeded those expectations, starting with the end of that episode—when Maeve, upon learning how Robbie’s been trying to avenge his brother/her father, immediately tries to walk back Robbie’s boneheaded decision and it blows up in her face spectacularly—all the way through to
                   <a style="text-decoration: underline; color: #000000;">
                    this week’s finale
                   </a>
                   , which closed out with the proper amount of brutality and silver lining optimism.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   I’m being intentionally vague here, because it seems like
                   <em>
                    Task
                   </em>
                   hasn’t exactly taken the timeline by storm the way your average Sunday-night HBO series typically unites everyone around the social media watercooler. It’s been kind of a soft year for the Home Box Office, but
                   <em>
                    Task
                   </em>
                   absolutely restored the feeling of the classic prestige crime dramas that the network built its reputation on, a legacy they consistently add to every couple of years.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Brad Inglesby’s previous miniseries
                   <a style="text-decoration: underline; color: #000000;">
                    <em>
                     Mare of Easttown
                    </em>
                   </a>
                   was one such recent addition, albeit one that was merely cool to me. (I’m chalking a lot of the real-time hype around that to the last throes of pandemic boredom.) His writing on
                   <em>
                    Task
                   </em>
                   simply blows that show out of the water. Every crime story reaches to give its characters gravitas, interiority and emotional depth to substantiate all the plot mechanics, but I haven’t seen a show connect as well as
                   <em>
                    Task
                   </em>
                   in awhile—the monologues about childhood memories, the flirtation between two members of the eponymous task force, the backstories that get traded during off-duty hours, lead biker guy wooing the club’s matriarch—it’s all richly-drawn texture that makes the standard story beats about moles, murders and double crosses pay off that much harder.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   At the forefront of all of this is Tom Pelphrey, an actor I haven’t really seen before (I’d tapped out of
                   <a style="text-decoration: underline; color: #000000;">
                    <em>
                     Ozark
                    </em>
                   </a>
                   <em>
                   </em>
                   by the time he joined) who delivers a tour de force as Robbie, the petty criminal in way over his head. Robbie is quite possibly one of the dumbest crooks to ever do it, but Pelphrey earns every stupid decision Robbie makes by completely selling him as an overly emotional raw nerve completely blinded by anger and revenge. (He’s also the actor most committed to
                   <a style="text-decoration: underline; color: #000000;">
                    the WaWa accent
                   </a>
                   , and to my tristate ears, more than acquits himself.) Robbie is the type to impulsively punch a man in the face even as half the state is looking for him, but also ask a kid who he just kidnapped how he prefers his pancakes. The series is littered with rich, in-between moments and conversations about faith that manage to feel incisive instead of reheated.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Truly, the whole cast is stacked. Peak
                   <a style="text-decoration: underline; color: #000000;">
                    Hey, It’s That Guy
                   </a>
                   character actor
                   <a style="text-decoration: underline; color: #000000;">
                    Jamie McShane
                   </a>
                   gets his meatiest role yet as a high-ranking Dark Hearts OG desperate to get the club back on track. Emilia Jones quickly becomes the show’s beating heart, the one character you
                   <em>
                    need
                   </em>
                   things to work out for and the one with the most to lose. Thuso Mbedu grounds what could be one of the only underwritten characters on the board with a steely gravitas that rises above cliche. And
                   <a style="text-decoration: underline; color: #000000;">
                    <em>
                     House of the Dragon
                    </em>
                   </a>
                   fans who hold Ser Criston Cole in high esteem as the most hateable character will get a special kick out of how charming and magnetic
                   <a style="text-decoration: underline; color: #000000;">
                    Fabian Frankel
                   </a>
                   is here as a brash task force agent obsessed with absolution.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   But Ruffalo more than holds his own, delivering one of the most haunted heroes you’ve seen on one of these types of shows in awhile. It’s less that Tom has witnessed a lot of dark shit on the job and more that his personal family life is an absolute wreck. Inglesby also chooses to withhold those details until the second episode, but when his situation comes into focus, man is it dark. Tom isn’t even a particularly good cop or savant detective—he’s about as mediocre at detecting as Robbie is at playing criminal. But the respective humanity of their characters makes their inevitable face-off an exchange that actually at least approaches the
                   <em>
                    Hea
                   </em>
                   t-diner moment so many stories in this genre swing and miss at.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   And the plot is working in concert with all of Inglesby’s stellar character development. None of the beats feel rote; Inglesby in fact manages a few zigzags, all the way up to the way things end for Tom, which seems appropriately obvious until a last-minute, realistic rug pull. You can count on at least one genuine nail-biter of a sequence per episode which all builds up into an extended
                   <em>
                    20-minute
                   </em>
                   action sequence that opens the sixth hour and features director and executive producer Salli Richardson-Whitefield going absolutely dumb, tracking  a very large group of characters across a very large terrain and masterfully commanding the sense of place and the tension. After all those fireworks, the finale manages to squeeze out more action and intrigue while giving Ruffalo room to lock the Emmy up with like three different tearjerker scenes.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   So watch
                   <em>
                    Task
                   </em>
                   , if you’ve been slow to get to it so far and join the bandwagon before those Best of the Year lists roll out. Brad Inglesby, you’ve done it again, and better. Now, please, for the love of God, don’t try to force a season 2.
                  </p>
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                   <strong>
                    Between the Taps
                   </strong>
                  </p>
                  <p style="margin:0">
                   (
                   <em>
                    A weekly roundup of everything else I consumed since the last Tap In)
                   </em>
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                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    Memphis Bleek’s
                   </strong>
                   <strong>
                    <em>
                     ROC Solid
                    </em>
                   </strong>
                   <strong>
                    Podcast
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Across the contentious, now-20-year saga of the original Roc-a-Fella break-up, as certain key figures from the legendary rap label’s history have fallen out and made up and fallen out again, one thing has remained consistent: no one has a problem with Memphis Bleek. The Roc stalwart, who’s maintained a big bro-lil bro relationship with Jay-Z that predates their tenure as rap superstars, is always so genial and loyal that the idea of anyone having beef with him seems silly. And as an early and frequent Drink Champs podcast guest, it’s been established that in a comfortable setting, Bleek is both a hilarious storyteller and a perfect sounding board when you get him talking about the aughts-rap glory days. In short, he’s an ideal candidate to host his own show, and he’s finally doing that with ROC Solid, a podcast that, at least at the outset, features Bleek talking to guests who were in and around the Roc-a-Fella orbit during the label’s heyday—the idea being that no matter how many tales we’ve heard from that era, you’re going to get something more incisive from the guy who was by Jay’s side for most of it.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   There have been a handful of episodes already and Bleek’s still finding his footing as an interviewer, but the show began to fully realize its potential in the most recent episode with Jim Jones, who was affiliated with Roc-a-Fella towards the end only to famously beef with Jay-Z for many years afterwards. That’s all been long squashed, but again, Bleek being the guy who was always cool with everyone puts him in a unique spot to talk through the mutual respect he and Jim had for each other initially—revealing a deeper camaraderie than some people might’ve known they had—as well as the awkward period where they had to choose sides. Their two-hour sit-down covers more than a few legitimately untold and genuinely fascinating and/or hilarious stories, which is a rare feat given how much we already know about the Roc, Jay,
                   <a style="text-decoration: underline; color: #000000;">
                    Cam’ron
                   </a>
                   , etc. (For instance,
                   <a style="text-decoration: underline; color: #000000;">
                    Jim’s story
                   </a>
                   about a ‘95 interaction between Jay-Z and Mase throws the subliminal back-and-forth between those two into a very sharp focus.)
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   So tap in with Bleek’s show if you’re a Roc fan or just intrigued by that moment in time, because it’s only getting better—and building up, hopefully, to a rare sit-down with
                   <a style="text-decoration: underline; color: #000000;">
                    the Big Homie
                   </a>
                   himself.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    <em>
                     The Game
                    </em>
                   </strong>
                   <strong>
                    on 35mm at the New Beverly Cinema
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   What’s the general consensus on this? Are people cool on it or is it considered an underrated gem (in both the Fincher oeuvre and the broader ‘90s thrillers genre)? I can’t tell, but for me? This movie is very silly, yes, but man I love it. The Fincher filmography, while fire, is also often notably cold, sleek and nihilistic, and of the rare times he’s tried to switch gears and go sentimental, I think this is his best swing. Michael Douglas is kind of an underrated GOAT, especially in terms of his leading man range, and there’s a wryness that he brings to this that keeps it from ever taking itself too seriously. But there’s also a real warmth too that elevates what could easily be written off as simply Rich People Problems. It’s fun, it’s charming, affecting even—this was only my second watch (first in a theater), and I’m not going to bother with a soft Fincher ranking right now, but it’s definitely high up for me.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    <em>
                     Vacancy
                    </em>
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
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                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    Tame Impala,
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                     Deadbeat
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