Just when you thought Mia (Chloë Sevigny) was getting somewhere with her new-found family at the end of episode one; episode two comes along with a bulldozer of complicated emotions to shake it up again.
Mia’s attack on the deplorable John (Vincent Regan) last week has left its mark in more ways than one, placing the family in a sticky situation as revenge he now seeks. He plans to get it by selling the small holdings – an upset the kids don’t want after the recent death of their mother. Forced to talk to John, Mia offers to buy the small holdings off him – which he has no intention of doing. So in steps her now bordering-on-creepy boss Eddie (Peter Wight), who offers to use his name to buy the property. However Eddie’s motives seem shady somewhat when it appears clear he intends to get his feet firmly under the table; and his stash hidden in the house. Is Eddie protecting his investments in his best assassin? Not to mention his leering looks in Mia’s direction.
But what’s really interesting is the family dynamic. When you hear the premise is a transgender assassin you expect an action fest (well the assassin part anyway). What we actually have is something profoundly more beautiful. Amongst the chaos and arguments, there are genuine poignant moments of emotion. Especially between Mia and Ryan. During a bout of confusion where he dresses in drag (so he can be more like Mia). Mia tenderly points out to him how much he is already like her…but will grow to be a man.
What is becoming clear is the teenagers are testing Mia. Riley who is clearly pregnant after her aggressive sex sessions with John, points out to Mia; ‘They say you can choose your friends but not your family. Thing is, you can.’ Asking Mia; ‘Are you going to run away every time it gets a bit tough?’ While Levi (Reece Noi) has trouble no longer being “the man” of the house and throws insults at Mia in his frustration and grief, before breaking down for a hug. Young Leoni (Roma Christensen) cleverly points out to Mia “why aren’t you,” when Mia asks why she doesn’t want to dance in her dance class. What a splendid cast of youngsters Hit and Miss has!
This weeks uncomfortable scene; and what must have been fairly mortifying for Sevigny to film, serves to show us Mia’s self-loathing of her male self, as she stands naked in front of the mirror in a Pinocchio nose while punching herself in the groin repeating the mantra; ‘I don’t want to be a boy.’ A reality she may be facing sooner rather than later, if she intends to start seeing the unwitting Ben (Jonas Armstrong).
With Mia’s professional and personal lives now getting blurred, how much can she keep her family out of trouble? Going by the sniper gun she used on the fox, I think our long-haired prowler should cut his losses, before the farm becomes her very own shooting range, with him being the moving target!
Chloë Sevigny‘s accent may be shaky (I still don’t understand why she had to be Irish, or why she couldn’t keep her real accent) but Hit and Miss so far is firmly in the hit category for me, with the second episode even better than the first. The final scenes with the family dancing in the kitchen were not only heartwarming, but amazingly filmed. There was an air of Pulp Fiction in them. I’m hooked what happens to this troubled family, while watching some impressive acting from all ages. There’s not too many shows that can make me praise them so much, so here’s hoping Hit and Miss can keep up the standard set. Episode 3 can’t come soon enough.