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Message: <blockquote data-quote="Mel O&#039;Drama" data-source="post: 335340" data-attributes="member: 23">She’s Out Episodes Two and ThreeThere’s a peculiar, almost contradictory, duality to this series. On the one hand, it feels often slow and laborious - like watching a three episode story stretched into six and diluted. How else could one explain most of the women leaving the manor house one by one only to return a short time later. It feels like this cycle has happened at least twice now and it hasn’t added anything. At the series’ halfway point, Dolly has only just struck upon the idea for a new robbery upon which the latter part of the series will hopefully focus. While it’s necessary to show the motivation behind it, it seems this point could easily have been reached by the end of Episode One by being economical with the writing, using the “Kick, Bollock and Scramble” ethos so perfectly applied in the first Widows series and ideally giving the film a leaner main cast (the Marilyn Monroe wannabe would be the first thing I’d get rid of). On the other hand, it’s fast moving in all the wrong ways. I’m not sure how much time is meant to have passed since Dolly’s release, but it seems like days rather than weeks. Yet already she’s not only put in an application to foster children but appeared before the board. This aspect of the series feels so bonkers as to operate outside of reality. Notwithstanding the fact that Dolly has just got out of prison for killing someone violently, she hasn’t been seen to meet any of the criteria that her probationary license would require. She has no job; a home she’s bought overnight with money that seemed to come from fresh air and which she shares with half a dozen other ex-prisoners (the foster board, to their credit, did visit the house - quickly ruling her out - but there’s no sign of her probation worker having any concerns about her living conditions). It’s telling of this world’s reality that the fostering board actually considered Dolly a good prospect - criminal record and all - until they stumbled upon the women frolicking and swearing half naked in the sauna (naturally, a lesbian kiss was the clincher that decided them against). I don’t know. There’s just too much that stretches credulity enough that it's not quite believable as heightened reality. There have been some moments that have made this series pretty much worth it so far. The contact between Dolly and Audrey is top of that list, with Dolly turning the screws to get her money back from Audrey. With Episode Three, Dolly has kind of let Audrey off the hook, telling her to leave the country, and so it seems we’ve seen the last of yet another link to Widows, with Dolly now the last one standing. Kate Williams was great in her final scene, snarlingly reciprocating Dolly’s wish never to see her again, and finally telling us that she lost the baby she was carrying when she learned of Shirley’s death, which goes some way further to making her revenge-fuelled anger even more justified.</blockquote>

Verification: Who played JR Ewing?