THE TERROR

The Terror: Infamy, ‘Into the Afterlife’ Review

“I married in Hiroshima,” says the ghost of Yamato-san’s childhood friend. He goes on to describe his life there, his children and grandchildren, the arrival of his first great grandchild. Yamato-san peers around him and sees those people standing silently in single file behind his friend like the other man’s…

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The Terror: Infamy, ‘Come and Get Me’ Review

“Chester has a plan,” his mother Asako says confidently. “He always does.” One wonders what show she’s been watching. It’s hard to think of a character in recent memory who more transparently has no clue what he’s doing at any given moment, lurching from plot to plot and life to…

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The Terror: Infamy, 'Come and Get Me'

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The Terror: Infamy, “My Sweet Boy” Review

“So help me,” says Toshiro Furuya to his recruitment officer, “but all I wanna do is kill.” That’s about as good as the writing, courtesy of screenwriters Alessandra Dimona and Shannon Goss, gets in “My Sweet Boy,” the eighth episode of The Terror: Infamy. Along with the Hallmark card opening…

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The Terror: Infamy, “My Perfect World” Review

“You wanted a demon?” the rebellious Ken Uehara (Christopher Naoki Lee) growls at relocation camp director major Bowen (C. Thomas Howell), whom he spends most of the episode holding at gunpoint in a locked barracks. “You got one.” That’s about as deep as the hostage subplot in “My Perfect World”…

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The Terror: Infamy, “Taizo” Review

After five episodes of irregular buildup and evasive non-storytelling, Infamy finally lets its audience in on the origins and motivations of its ghostly antagonist, the yūrei Yuko in “Taizo.” A mail-order “picture bride” thrown out by her husband/purchaser Hideo Furuya after she tells him she’s pregnant with another man’s child,…

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The Terror: Infamy, “Shatter Like a Pearl” Review

After a brief uptick in quality with last week’s ‘”The Weak Are Meat,” The Terror: Infamy returns to disappointing form with “Shatter Like a Pearl” — an aimless and underwritten checklist of events and concepts related to the Pacific Theater and Japanese-American internment. Seppuku? Check. Denouncing the emperor? Check. Inmate protests?…

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The Terror: Infamy, “The Weak Are Meat” Review

“It makes the baby come out,” says the vengeful spirit Yuko, briefly displaying a set of menacing obstetric instruments to the pregnant Luz. Yuko’s cheerful expression and the language barrier between the two women keep Luz uncertain as to the spirit’s meaning, but it’s plain to see that something of…

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The Terror: Infamy, “Gaman” Review

“If somebody find love here, that be something,” says Yamamoto, played by George Takei, of two young people flirting over breakfast in a Japanese internment camp. This sort of love-among-the-ruins quiet desperation permeates Infamy’s third episode, “Gaman”, helmed by Heathers and Hudson Hawk director Michael Lehmann and written by Shannon…

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The Terror: Infamy, “All the Demons Are Still in Hell” Review

It’s hard to imagine a more relevant moment for a horror story about immigrant suffering, which makes Infamy laying its second dud in a row all the more frustrating. “All the Demons Are Still in Hell” is forty minutes of hold music to get us to the show’s inevitable and…

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The Terror: Infamy, “A Sparrow in a Swallow’s Nest” Review

The Terror, Dan Simmons’ horror/sci-fi novel on which the first season of AMC’s horror anthology series of the same name was based, is so titled as a play on the Royal Discovery Service ship Terror, aboard which much of the season occurs. The show’s second season, subtitled Infamy, is still…

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