In addition to having two families, Hiroshi had two offices, so they decided to go to the Titan-ravaged ruins of San Francisco to see what they can uncover. They have plane tickets to Tokyo, and while May wants to go home, Cate and Kentaro want to keep following their dad’s trail. You are goddamn lucky to be alive,” he says, and Duvall appreciates the tough-love act. “You stuck your noses in shit you don’t understand. Tim drops Cate, Kentaro, and May off at the Nome, Alaska, airport with some money and an apology that only goes so far when they give him flack. She says they should let them go but put them on a long leash, tracking what they’re doing and waiting for May, who she correctly clocks is tired of running from whatever it is she’s got fake passports in order to run from, to contact them. His co-agent Duvall, though, has other ideas. Tim wants to recruit the trio and have them work with Monarch in the hopes that May will hand over the secret backup of Randa’s files they assume she has, since the Titan turned her laptop into a Popsicle at the end of the last episode. The episode opens with Cate, Kentaro, May, and Shaw in solitary confinement in some Monarch black-ops site in Alaska, a situation that’s better than freezing to death in the snow or getting killed by a Titan - but it’s not exactly ideal, either. ![]() And, in doing so, treats the monsters destroying a city - destroying lives - with the awful gravitas that the MonsterVerse sometimes lacks. Similarly devoid of ’50s flashbacks as the previous episode but even more tightly focused, “The Way Out” goes into the ruins of San Francisco. The as-yet nebulous “legacy” of the monsters has overshadowed their actual impact, making the fifth episode a welcome corrective. Monarch: Legacy of Monsters takes place right after (and several decades before) Godzilla’s first emergence, but it’s largely been concerned with unraveling the show’s various mysteries and conspiracies. ![]() Kong, need to have extra thrills to make up for the fact that everyone has accepted giant monsters living among them. Later movies, like the beautifully big and stupid Godzilla vs. For its faults, the 2014 Godzilla that kicked off the American series had a sense of awe because these creatures were new to the world. Godzilla’s stomped into this, too, as the MonsterVerse shows. ![]() A show that takes place after zombies have already taken over and are now more of a still-terrifying but known routine doesn’t have that same immediate juice. Even if we, the audience, have seen a million zombie shows, there’s something inherently thrilling about seeing it through the eyes of panicked and confused characters dealing with the walking dead for the first time. A hurdle that long-running genre series encounter is a diminishing lack of awe.
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