Hell’s back pages

 

Not quite my usual prolix self today, but still glad I can get in this point before the week falls cold. If you’re new to the land of #46, kindly consult our great mini-directory. Otherwise, stroll forward.

One of the central questions this season has been “is Marlo human?” As has been discussed at great length in the past, at least Stringer had ideals, Avon was mildly lovable, Prop Joe fixes toasters, etc. Stanfield, however, is a bonafide monster–not so much because of what he does, but because of the total lack of anything that could inspire a twinge of empathy. In Season 3, he seemed merely enigmatic, playing it cool and keeping his close. Now, we’ve had ten episodes of Marlo in a starring role, and nary a chink in the armor or symbol of puzzlement that would illuminate him for us. Even his brief warmth when Michael comes to him seemed, well, contrived and haunting. Double all this up for Snoop and Chris, who might be the two most monolithic beings the show has ever produced.

With the Barksdales, we never asked “how did they get here” because their personalities bore all the scars and jumbles of a long journey unto grandeur. What’s more, the saga of Bodie gradually demonstrated how one learned the ropes, transforming himself from feisty aspirant to canny participant. Character got built through strength and weaknesses alike, making for men whose flaws were essential to an understanding of their unique clout in the game. Marlo, however, is cold and distant enough to make Bodie shiver. No one can read him, his rep is simply one of ruthlessness, arrogance and precision; it’s no accident that Bodie and Poot revisited the Wallace incident, since to them the difference between String and Marlo is that String inspired trust. He was known to have sound judgement and an innate sense of when to act, when to rest. Marlo, though, truly is more fierce; he’s feared, not respected, and his leadership bears nothing of a personal stamp of style.

Enter the majesty of #47. Centuries from now, we will point to the closing scene as the exact moment at which Michael discovered evil. Almost clumsily, this episode saw our boy go from motivated by rage to consumed by it; that sinister smile at the end was the polar opposite of his usual manly grimace, and was oddly more at peacce than the Michael we’ve come to respect. Up to this point, he’s felt the need to protect others, keep his world in order, and sublimate his anger unto the positive side. Getting his step-dad offed, though, was so easy, and so evidently cathartic, that it makes the old Michael seem like a dupe. Earning on the corner makes a traditional job look like a joke; by this same token, Michael’s suddenly discovered that coping with and learning from trauma can’t hold a candle to actually wielding power.

I’m not trying to make any ignorant guesses about what Michael’s destiny is, but certainly something to be learned from his transformation from lovable, supportive source of strength (Elton Brand, yo) to sneering sociopath. If Bodie’s saga showed us how to imagine the early days of Avon and String, then Marlo even more desperately needs this kind of mirrored narrative. Michael has been impenetrable but likable; what’s more, we understood exactly why he’d set up the defenses he did. It’s not inconceivable, though, that we’re watching a transition much like the one that created Marlo: a damaged but hopeful kid discovers the dark side and turns that guarded personality into a cloak for evil, not pain.

If ever I had any doubts about this window in Early Marlo, the staggering Chris sub-storyline drove the point home. In case you missed it, Chris immediately got what was wrong with Michael (Snoop, predictably, had no idea what was going on), and then pulped the step-dad in one of the most brutal scenes in Wire history. Let me spell this one out for you: DUDE WAS OBVIOUSLY HIMSELF MOLESTED AS A YOUTH. Ironically, this doesn’t even begin the plumb the depths of Chris’s weirdness. But by linking this most obscure of characters with Michael’s brand of childhood misery, the show’s done more than set up a character’s future. In addition, now all of a sudden we can see how these seemingly vague figures are actually pointed gestures in the direction of a very specific kind of past.

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41 Comments on “Hell’s back pages”

  1. christycash Says:

    my impression from the discussion chris had with bug’s dad about being “inside” was that chris was abused/molested/rape in jail, not as a child.

  2. Shoals Says:

    why do i keep calling him michael’s “step-dad?”

    anyway, i took the prison thing to be a poor excuse that chris instantly saw through and got disgusted by. and he seemed way too empathetic with michael from the second he met with them; it just seemed like he instantly saw himself in michael. and his first line to bug’s dad was “you like little boys?,” delivered like it was personal.

    plus prison is prison; it’s an untold part of the game. children getting violated on the outside, though. . . that’s not supposed to happen.

  3. jeremy Says:

    Maybe Chris was violated in jail, but from the way that he IMMEDIATELY understood why Michael wanted his step-dad gone, I think that Chris has more than a passing familiarity with pedophiles.

    That murder scene was incredibly brutal. Chris mashed his face into pulp. I mean, I know everybody reading this saw it as well, but fuck, that was a crazy scene. At first I was hyped on Chris for annihilating Michael’s abuser, and then about 5 seconds later I just felt kind of sick about everybody involved.

    I thought the portrayal of the School Dept. lady trying to shut down Colvin’s program was great, especially when her and the head researcher guy were beefing. She’s totally disingenuous, a perfect political operator, you could just imagine how quickly she would crush the souls of every adult involved in the project if/when she gets her way.

    The whole political side of the show really worked for me this episode, Clay Davis fucking Carcetti in the ass while Carcetti smiles about what a great deal he’s getting.

    This episode was a reality check for almost everybody involved (I think Michael, McNulty, and Marlo being the only exceptions). The urge to download the rest of the season is almost irresistible.

  4. jetsetjunta Says:

    While Marlo’s stylishness did indeed make him ripe for a fuller appraisal this season, I think it was with a bit of relish that the writers managed to make him as fleshed-out as a soulless monster can be. The thing I find the most fascinating, and possibly the most true, is that the dramatized dealer we see in Marlo is not seemingly all that concerned with his profit margins, certainly not so much as he is in silencing possible problems or even delusionally percieved problems (security guard). Sure, the product keeps moving, and the money rolls in, but like all despots, his larger concern is always his own image, his own safety, and the annihilation of a thousand unseen enemies, or nipping in the bud of potential threats. It’s beyond dastardly, and he’s sold that bill of goods to Michael, at least in provisionally and in part. We have three more hours in which a lot is going to happen. Anyway, the demonization of Marlo is as interesting a reversal of thematics as we’ve seen in the show’s run, pointing toward a street life where the rules discussed in Namond’s classroom about how the corner functions don’t even matter. Nothing matters. Nasty, brutish and short.

  5. shoefly Says:

    What I liked and saw in this episode, and I think has been the theme of last season as well, is the mechanization and dehumanization of the modern city, on all the various levels. These are:

    1. The Street: Marlo as Terminator brooks no dissension. The key conversation here was that between Bodie and Poot. “World’s getting warmer, people getting colder.” We had Bodie, longing for the humanism of D’angelo and even, oddly enough, Stringer, while Poot reflects that there is no going back. Chris’s justice, though momentarily and morally satisfying, is a truly evil Metistophiclean pact. Marlo’s military precision is the true fruition of D’angelo’s chess analogy. He is only too eager to sacrifice any piece to get an advantage. (I must say, I didn’t think the first two season’s were comparable in scope or power to the last two, but to me D’angelo is the most powerful and profound creation of the show.

    2. The school. This one is the most obvious, with all the players literally reduced to numbers. We have people trying to go outside the system (Colvin, Prezbo, Cutty) but they are enmeshed and, I presume, will be subsumed by the corporate system they serve. Cutty’s kid corralling here being the best example of the 1’s and 0’s binary nature of that system.

    3. The Police- Here again you have the struggle between the Daniels, Colvin, Lester people and the number crunchers, the stat-jukers. In this episode we had the quality of life people, the Giulliani lovers, holding sway. Again, it’s a numbers driven power play with the people lost in the shuffle.

    Hmm, I lost my train of thought, but trust me; my conclusion was going to be profound. Something like that Martin Luther King quote where he says, “The arc of the moral universe is long, but it bends towards justice.” But in the world of the Wire in bends towards dehumanization, computerization, and degradation. We live in a society where free trade is the height of the moral universe, modernism and commercialization are the new Gods, and the only ones through which salvation is possible. Its tentacles have spread everywhere, even to the streets of Baltimore.

  6. lukeoneil Says:

    No episode of the Wire has filled me with as much dread. The suspense was awful through the episode as they kept us waiting for the inevitable confrontation between Chris and Bug’s father. And the murder itself kept me uneasy for hours after. I had to watch some Jay Leno style bufoonery to get my mind off of it.

    Throw in what seems to be beginning of the end for Randy, and my frustration with Clay Davis (no, I’m not charmed by him, not even as a villain, because he is all too real) and it was about as disgusting as it gets. Great drama though.

    I posted somewhere awhile back that Michael would never turn on Randy. Now I’m not so sure. What an absolutely sinister look he gives his mother. I don’t think there is any turning back for him.

    Also, to add a controversial point, am I the only one in the world who thinks that murder is worse than child molestation?

  7. Ghlade Says:

    Whew. Great post.

  8. F. Pants McFadden Says:

    I also thought this was a great episode. I love seeing Herc get his; I’ve never like him much (not saying its a bad character, just not a likable one). In light of Rawls’ affirmative action comments, I really like the juxtaposition of Herc and Carver. Moving in completely opposite directions. But what I really loved about this episode was the Chris/Michael story. I don’t think the story is supposed to be that Chris was molested in prison; I think his comment about knowing what goes in on the inside stands alone; it adds to the complexity of his character. I don’t see him as a monolith. Instead, I think that still waters run deep, and we’re beginning to see a little of what him who he is. His relationship with Marlo (and Snoop) to some degree is very interesting to me. Could be very different from the close friendship of Stringer and Avon that we were frequently reminded of. I didn’t get the feeling that Michael turned on Randy. I do get the feeling that we are seeing him start to “turn.” While that disappoints me because I’d like to see him rise above, it wouldn’t be realistic. But I don’t think they’d have him make such a quick turn on Randy, so in that preview scene, I think he’s about to help Randy. I hope so at least. The one I worry for is Bubbles. Herc just might make things uncomfortable for him. Then I’ll really hate him.

  9. lukeoneil Says:

    I think something else interesting that has gone unmentioned was the scene between Bubbs and the church-goers. They’ve ostensibly just come from hearing the word of Jesus Christ — the minister was speaking it — and they couldn’t even register the existence of one of the unfortunates on their door step. Pretty biting, but sadly accurate, commentary on contemporary American Christianity.

  10. attentionmyth Says:

    Seems to be some measure of foreshadowing in both Poot and Omar commenting on the dislocation of Slim Charles, doesn’t there? This episode also appeared to have a heavy window motif — Omar surveying Marlo’s crew from behind the broken window, Slim Charles rolling up the car window between him and Bodie while maintaining eye contact, that last look between Lil Kevin and Slim Charles before Kevin is taken off, the mention of the Broken Windows policing strategy at the Western district roll call, etc.

  11. Skillz Says:

    Micheal felt as though he didnt have anywhere else to turn. I dont think that he wants to see the same thing that happened to him happen to Bug.

  12. lukeoneil Says:

    # Skillz Says:
    November 13th, 2006 at 10:39 pm

    Micheal felt as though he didnt have anywhere else to turn. I dont think that he wants to see the same thing that happened to him happen to Bug.

    Does that justify murder? I think this is a good question. Did he know that Big’s daddy would do the same again?

  13. turbanhead Says:

    best.episode.this.season!

    Bubbles calling in the fake drop was the best thing in this episode. Oh, and the look of shock on snoop’s face when chris made a pie out of bug’s dad’s face.

    And did we expect anything less than De’Londa’s reaction when Bunny brings back Namond (who had a very minor role in Akeelah and the Spelling Bee!)?

  14. Curricane Says:

    Seriously agree with you on Michael. I felt like the entire last sequence with him was like watching Luke turn into Darth Vader in Episode 3.

  15. Curricane Says:

    Oh, and does anyone else seeing Bodie becoming a bigger voice, especially when Prop Joe and Slim realize that Marlo is uncontrollable? I expect that by the end of the season, Bodie’s going to Prop Joe to talk about how to take Marlo down before he comes after them.
    Chris was obviously abused when he was a kid. He brought up jail because most guys, even if they’ve done it in jail, wouldn’t talk about it so openly. “Gotta get’cha nut” He might as well have said “I enjoy putting my penis in boys’ mouths,” as far as Chris was concerned. I have to admit though, great point on Michael being Marlo and Chris’ Bodie to Avon and Stringer.

  16. Curricane Says:

    to lukeoneil: yes, you are. Child Molestation ruins that person’s life, everyone around them, and anyone who will know that kid from now on. It’s better to end a grown man’s life quick than to make the already difficult real world impossible.
    to F. Pants Mcfadden: Excellent call. Remember when Marlo told Chris he needed another 150K for the card game? Chris looked at him, puzzled and not pissed but bothered. Then Marlo’s comment about maybe I’ll get bored and let you take care of them. I think he meant he’d tell Chris to kill them, but it looked as if Chris took it like “take care of my light work.” Chris respects and obey’s Marlo, but is obviously not friends with him. It’s almost as if Chris feels compelled to this lifestyle and accepts that he may not be going up when his time comes, but down. He seems to feel like there’s no choice for him, but that Marlo has made a decision to live as he does and Chris thinks it’s repulsive that he would make this choice.

  17. PDGirl Says:

    Seeing Michael’s audience with Marlo at the end of #46 last night haunted me all day, so I finally caved and got On Demand this evening.

    A couple of comments that are mostly unrelated to each other:

    Murder v. child molestation– I’m w/ lukeoneil that I think murder is worse (I won’t get into why). I orginally thought that the savagery of the final scene (the annihilation of Bug’s dad) illustrated the idea that murder is worse, but upon further consideration, I’m not sure. That scene also (obviously) supports the idea that experiencing sexual abuse is in a sense worse than murder because it de-humanizes/ damages/kills one’s soul such that he is capable of the most brutal, outrageous cruelty on another person. Not to mention making him feel so powerless that, if and when he finally gets power, he exercises that power in an extreme way. Chris was embodying a kind of rage that we had never seen in him before, and the kind of rage inside Michael that’s been hinted at all season. It was so shocking that even Snoop seemed (momentarily) taken aback.

    Michael turning on Randy: Although the preview scene seemed to hint at it (and it’s the first thing I thought of when I realized Michael was going to go to marlo), I’m not buying it yet. I loved (or at least found very interesting) hoopinion’s Damon & Pythias ideas on the #46 commentary. I also don’t think Michael’s smile at the end of the episode was a simple, mustache-twisting, “I’m a villian now” smile. The other thing is–Michael is a protector. Sure, he protects himself, but also he protects Dukie and obviously he protects Bug (so much that he’s willing to make himself beholden to someone and sacrifice his own self-determination, which we know is so important to him). I don’t think he’ll be so quick to turn on Randy. Michael does not expect everyone to be as strong as he is.

    Slim Charles- WTF is up with him? Was it a total coincidence that he showed up just as Little Kevin was being taken away? And it seemed to me like he was fanning the flames there with Bodie. WTF can Bodie do in the face of Marlo? i am just confused about what his game is at this point.
    (Also on Bodie- this was the first time since D yelling “where Wallace at?”–one of the most gut-wrenching scenes ever, in my mind–that we heard Wallace’s name mentioned. I have wanted to see that scene b/w Bodie and Poot since season 1, although I’m sure their perspectives on the act have changed over the years)… I think J.D. Williams has never been better than on this episode.

    Carver and Herc– I don’t have anything to say about Herc that hasn’t already been said, but I am waiting for some sort of confrontation b/w these two old friends/partners, and it looks like it might be coming over Randy. Hopefully not over a dead Randy.

  18. Shoals Says:

    to clarify: i wasn’t saying that i think michael is now a bad guy. more that he’s realized what makes evil-doing appealing and something more than just being bad.

    Not to mention making him feel so powerless that, if and when he finally gets power, he exercises that power in an extreme way.

    I think that applies to the last scene of #47 as well as to Chris’s zealous beatdown.

  19. Steve Z. Says:

    What is great about this show is that when McNulty makes an appearance this season, he happens to just be another character staying in his own lane. It took me a minute to think “Hey, there goes the best character for the first few seasons” because Marlo, Colvin, Carcetti, Michael and Carver are so damn good this season.

    One quick moment I thought was great was after Slim Charles broke the news about Lil’ Kevin to Bodie on the corner. They cut to a far shot behind Bodie, standing completely isolated and cold by himself on the block where he’s lost his Barksdale identity, and now one of his soldiers to a guy who responsible for the identity theft(Marlo).

    Can’t wait to see the shitstorm Herc’s gonna catch for lying about the Fuzzy Dunlop informant, losing the hi-tech camera he didn’t get clearance for, completely screwing up the Randy/Lil’ Kevin situation, blowing the Marlo “transaction” at the train station and now for damn near assaulting and humiliating the church leader, who you KNOW is connected to Burrell and the woman council chair who loves to break Carcetti’s balls. Herc maybe on patrol with McNulty soon.

    Another great moment was when McNulty’s ex had that look in her eye of pride and regret now that Jimmy is sober, happy and focused as a cop and father. “Who’d know you’d grow up to be a grown up?”

    This website is phenomenal by the way. Thanks for creating a page that allows for elaborate deconstruction of the best show on HBO and regular TV.

  20. Kevin Says:

    Well, bubbles is just going to spend the money on coke and dope. I don’t see any reason why those church people would give any of their money to him. Most churches will tell their practitioners not to give to homeless on the street, but instead give to a charity.

  21. Dennis Says:

    I never did see hoopinion’s Damon & Pythias musings but nothing’s for nothing when it comes to the writing on The Wire so maybe we’ve been given an insight into how it all shakes out between Mike, Randy and Marlo.

  22. Philly Says:

    Most churches will tell you to give money to the church. Jesus fed the homeless. Nothing wrong with taking Bubs to get a bite to eat after church. Definitely not very Christian to walk by him like he was less than a dog.

  23. BEC Says:

    Amen Philly. Bubbles was clearly asking for food (since they all had plates of food in their hands…).

  24. Brian Says:

    Wow, just stumbled upon this blog, great stuff here. I particularly like your analysis of Marlo as I’ve been pretty perplexed about what role he plays in the bigger picture. This helped me out with that a lot. Keep up the good work! I’ve finished the season (torrent leaks are glorious), so I’ll be checking this site out every week now to get my Wire fix.

  25. lukeoneil Says:

    I was just thinking a bit about Chris in this episode. It’s pretty fascinating how he often seems to be reassuring — almost gentle even — when dealing with his victims. Seems like he always points out “you know i do it quick” and says things like “it’s ok” or “shhh” ; gentle seeming things. He never says anything like “shut the fuck up” etc… that one might associated with the indifferent, cold blooded, arrogant criminal. There is no shaming the victim. It’s almost warrior-like. Murders done with respect.

    That might be taking it a bit too far. But the thing I wanted to get at in a round about way here, is the analogy between Chris and Cutty. Cutty is most certainly a character we admire. He was a criminal, but he did his time, has been rehabilitated, and is trying to go straight. But the way he is portrayed now makes it easy to forget he seems to have been a much-feared and formidable street soldier. I wonder if any of us can imagine thinking of Chris in that way 20 years down the line?

  26. curricane Says:

    I don’t think it can be overestimated the difference in the world Cutty and Chris come from. Gangster life in Cutty’s day is what we all remember from the 80’s with Public Enemy and movies like New Jack City explaining it best. It wouldn’t be outrageous to assume he was usually geeked out of his mind and ultimately just saw it as a good time (especially during the infamous “I just shot a nigga…come and get him” event). Chris’ time is morbid and desolate. It’s obvious that Chris is totally unmotivated by the shiny things or respect he gets from the locals. As I wrote before, he never seems like he enjoys what he does or who he is. He’s a robot, programmed to grime, where Cutty seems like he was just caught up in the excitement and prison gave him time to reflect on who he really wanted to be.

  27. Curtis Says:

    Great comments here. lukeoneil, I really like what you wrote about Chris and how he’s an almost gentle (loving?) killer. It’s like he respects his victims because they have played the game all the way through to its inevitable conclusion. It definitely indicates the character is more than an unknowable dark force and makes his brutal rage against Bug’s dad much more startling and disturbing.

    Question: could it be that like Omar, Chris lives by a code (or at least believes he does)?

  28. lukeoneil Says:

    Isn’t a murder a murder either way though?

    Chris seems to have some sort of standards anyway. Not sure if it’s a code. A code carries to much of an honorific to apply to these dudes. Even Omar, I think.

    I think it’s fascinating what passes for redeemable in this universe though! At least he doesn’t shame a man before he murders him!

    On a slightly related note, after watching the scene where Chris murder’s Bug’s dad I was all shook up. So i went to bed, trying to relax by reading. Unfortunately for me I had just gotten to the passage in For Whom the Bell Tolls, where the peasant revolt in a small town in Spain begins. The “fascists” are paraded through a murderous, awful gauntlet, beaten, and then thrown over a cliff. The thing that a few of the characters took from the horror was that this was no way for people to die. There was much talk of merciful, quick killing. The shaming and insults hurled at the fascists by some of the town drunks — and not the killing itself — is what was seen as truly horendous.

    I wonder if I’d ratherbe shamed and alive than go out quietly.

  29. Shoals Says:

    chris isn’t calling the shots, no pun intended. so if he chooses to try and let people go out with dignity, or comfort them in some way, that’s his attempt to, i don’t know, put a personal, possibly sympathetic, stamp on his leader’s bloodlust.

  30. lukeoneil Says:

    Does that make him more or less human and/or sympathetic as compared to Marlo?

  31. Curtis Says:

    I don’t know about sympathetic… it makes EVIL more human though, like you can be a murdering freak and still do something good. And that is both creepy and frightening. Also honest.

    Was Marlo at all benevolent in ordering the death of Bug’s dad? Or just an opportunist? Or both?

  32. Curtis Says:

    I had a very hard time hitting the sack too after #47. More disturbing than both Wallace & D’s executions because there was NO character to love or feel sorry for… Wallace and D broke your heart, Bug’s dad made you realize the thirst for justice may ultimately only lead to atrocity. It left me hollow, frightened and confused.

  33. Lance Says:

    I think this discussion of Chris’s relative evilness gets back to the question posed earlier, about what is worse, murder or molestation. I think some of the message here is that people that are able to do what Chris does are able to, at least partially because of what has been done to them.

    Clearly, Chris believed that Michael was molested by Bug’s father. What leads one to believe this is really the case, besides Chris’s actions and the look on Michael’s face when saying he just had to go?

    Could we not be horrified by Michael having Bug’s father killed to preserve the role he has in Bug’s upbringing? Their Mother isn’t capable of raising Bug, and Michael was upset about even the seemingly positive things Bug’s father was doing(homework).

  34. Curtis Says:

    He was doing homework to build trust, look like a good guy who had the right answers. Typical molester M O.

  35. Simonsbitch Says:

    Great posts, all.

    After seeing Michael’s smirk in the doorway, I started wondering…does he feel like he won the Oedipal conflict? Or did he eliminate the competition for Bug? If abusees become abusers, maybe Michael has his own plans for Bug. Sick thinking, I know, but I can’t help it.

    Chris let all of his other victims go gently into that good night. Bug’s dad did not. I think that’s all the backstory on Chris we might get this season, but man, powerful stuff.

    I could not get to sleep last night. Eric Overmyer redeemed himself (I really didn’t like the earlier episode he wrote, I think it was 43).

  36. Pooh Says:

    It’s almost warrior-like. Murders done with respect.

    Ghost Dog…Chris does have a bit of the otherworldly to him, doesn’t he? For whatever reason, and with the possible exception of Norman, he’s my favorite character this season.


  37. […] Posted November 15th, 2006 by christycash Categories: Uncategorized I’m going to make a detour from The Wire in order to talk about The Wire, so I hope you guys can stick with me. For those looking for some good conversations about #47, go here or here. For 46, here’s the archive.  […]

  38. Gavrilo Says:

    Good point about the way Chris treated his victims before Bug Sr. I’ve also noticed that the victims themselves are generally resigned to their fate. Nobody runs, nobody cries, nobody begs–weel, maybe the first guy this season begged, but the only request Andre made was to be left somewhere public so his people could give him a homegoing (or words to that effect). It makes me think that when someone like Nay says that he expects to be dead in a few years, it isn’t just talk.

    Interesting a couple of shows ago when Chris knew all about the local music scene–hard to imagine him doing anything fun. Snoop, on the other hand, is the one who really doesn’t seem to have extracurricular activities.

  39. Gavrilo Says:

    Good point about the way Chris treated his victims before Bug Sr. I’ve also noticed that the victims themselves are generally resigned to their fate. Nobody runs, nobody cries, nobody begs–weel, maybe the first guy this season begged, but the only request Andre made was to be left somewhere public so his people could give him a homegoing (or words to that effect). It makes me think that when someone like Nay says that he expects to be dead in a few years, it isn’t just talk.

    Interesting a couple of shows ago when Chris knew all about the local music scene–hard to imagine him doing anything fun. Snoop, on the other hand, is the one who really doesn’t seem to have extracurricular activities.

  40. Gavrilo Says:

    Sorry sorry about the repetition repetition.

  41. matt bird Says:

    What I got from Chris’s viciousness towards Michael’s father and his quizzing the same about prison sex practices was that Chris is taking a strong, personal interest in Michael, and that Michael is more Chris’s protoge than he is Marlo’s, this idea cemented by the time he and Chris spend together and Chris’s look of concern when he finds out that Michael stood up for “snitching boy”. But the idea that Chris was molested is also persuasive.


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