In that early scene where the Patriot army encounters Americans who were forced from their homes into exile, Tallmadge tells his troops to hold their fire. He later turns on that command in a later scene when he fires at mutinous men in his ranks – all of whom come from the same family. The youngest of the three men, Newt (Jacob Leinbach), is hesitant to join his family on their mutinous pursuit earlier on, but his succumbing results in his death. It seems that war is bringing out the best and the worst of the families featured on Turn, and it is fascinating to see how few of these close groups are able to stick together.
Another strong subplot this week comes courtesy of Anna and Caleb. Anna insists that she can be a weapon for the Culper Ring, with her job at the tavern one that can overhear intel from the patrons very easily. “You’re a woman and this is men’s work,” Caleb shouts back at her. However, she remains strong and steadfast in her proposal. The scene in the barn relies on the actors – Heather Lind and Daniel Henshall – acting a lot with their voices, since the slits in the fence only illuminate part of their faces.
This episode gives some of the supporting characters and the terrific stage and screen actors who play them the chance to sink into their roles as well. Beyond the actors mentioned above, Samuel Roukin is a snivelling, smirking delight as Cpt. Simcoe, who watches gleefully as the Americans turn on each other when they find mutiny in their ranks. Meegan Warner also gets more to do as Mary, who confronts Anna about her relationship with Abe. (It is strange to see a woman from that era approve of her husband’s relationship with a woman from a close proximity, though.)
Under the direction of SJ Clarkson, Turn looks grander than ever this episode but feels more personal and intimate. The two-person scenes this week – between Richard and Abe, Anna and Caleb, then Anna and Mary – are the highlights, as the characters try to measure how much they can hide their other, espionage-driven side. Meanwhile, the introduction of New York Island is impressive for a rookie TV drama with a modest budget. The harbor is magnificent and the Dickensian depiction of the rustic life in the British stronghold is rich, filled with street urchins, prostitutes and puppet shows.
Meanwhile, Clarkson uses slanted camera angles as a way to visualize both how the American forces are starting to tilt downward while the Culper Ring’s strength starting to tilt upward. Nothing seems to be simple and expected, or level. Despite a few muddled moments from these early episodes, Turn is starting to tilt upward too, into a program that AMC can be proud of.
