Berlin Station 2.1, second impressions [spoilers!] #richardarmitage

These posts are recaps / discussions / analyses of the episodes seen in the U.S. each week, like the ones I posted last year. As such, they will contain spoilers — PLEASE do not read these if you are not watching concurrently with the U.S. broadcast but still want a fresh look at them.

Richard Armitage as Daniel Miller in Berlin Station 2.1. Probably my favorite visual from the show so far.

Here we are again, Berlin Station fans, as our beloved CIA agents return for another season of protecting the free world. [coughs]. I watched these two episodes when the free trial became available (about 2-3 weeks ago), so these are not initial impressions, but I will write subsequent installments after one viewing.

TL; DR version — this episode was stronger than about 2/3 of last season. Upsides — shorter scenes; more effective storytelling with less exposition; great script for Valerie and Esther Krug; Richard Armitage’s playing of the Trevor part of Daniel; beautiful Berlin but not so distracting as last season; noticeable and credible interjection of the series into contemporary world events; Keke Palmer’s energy. Downsides — the BB Yates character and her scripting; Ashley Judd’s acting; the two characters I liked least are back in the show.

I’m not a huge specialist on neo-Nazis but I thought I was sufficiently up to date on current events not to be really affected by a drama on this topic. I was wrong — there were a few moments where I was truly bothered or even angry. And the unease I feel around Armitage’s depiction of Daniel is great, although at the moment it’s rather inchoate. Perhaps because he’s quite convincing at appearing to be what these people want him to be. Like: I still know he’s acting, but they don’t appear to — and while it’s often impossible to tell what Daniel is thinking, at other times I don’t really believe his claim that he’s not afraid.

***

We encounter Daniel entering Germany on a train (I’m assuming this is from the south, given the mountains, but I’m not exactly sure where). Cue nostalgic moment for me — this was one of my favorite things to do on the Polish border. He’s not Daniel though; he’s Trevor.

Daniel’s new legend. Not Richard Armitage’s thumbs. But I don’t think that photo meets the passport agency’s new photometric photo requirements — I’m surprised they didn’t send him back three times to get new photos.

I feel like Trevor is a 1980s name in the US, but this is an effective way to introduce the plot, I found — we immediately have questions about why the new identity. Plunges us right in, so to speak.

Looks he’s going to the main floor from the basement, which would substantiate the possibility that he came from the south or southeast. Richard Armitage as Daniel Miller in Berlin Station.

Miller / Price exits the station. Quick cut to a short scene in which Esther …

Mina Tander as Esther Krug in Berlin Station 2.1.

… is shopping for a body in a German morgue.

Next we see them both entering a (for German standards) quite rundown mass apartment. Trevor is wheeling a box. As they enter, Esther quizzes Daniel about his cover: he’s a dishonorably discharged US infantry veteran.

“While on my third tour in Iraq, I fired high explosive incendiary rounds at a group of civilians.” Richard Armitage as Daniel Miller under cover as Trevor Price in Berlin Station 2.1.

I gotta admit, it’s chilling to hear Armitage reciting this information so glibly, along with the justification that he wanted to engage with the enemy. However — when he’s referring to his commanding officer, Daniel / Trevor calls him a “fucking pansy,” and although I object to the sentiment, wow, Armitage, you have never sounded quite so American.

They try to build in a little humor, as Miller / Price discovers that the body in the box is naked.

“Esther, he’s naked.”
“Yeah, they all were.”
“You don’t think that might look a little weird?”

Not being initiated into the commission of homicides I’m not sure why a naked dead boy is weirder than a dead body, but anyway … they dress him in some of Daniel’s clothes. Daniel asks if the corpse needs underpants and decides against.

Meanwhile, Esther’s pursuing the track of trying to figure out who Daniel Miller is — he hasn’t decorated his apartment at all. (I’m not sure if this is intentional but this is another one of those classic moments of the German – American encounter. Germans on average tend to be slightly more interested in interior decoration than Americans are.)

Richard Armitage, random unobtrusive bicep shot of Daniel Miller in Berlin Station 2.1. Geez!!

Then an interesting encounter: Esther can’t figure out who Daniel is, he seems empty of content; Daniel turns that problem back at Esther. She notes that it’s a German way to view it, and he reminds he was raised in Germany. “And you seem determined to die here,” she observes, “and now you’re going into deep cover with neo-Nazis.” “I was just gaming for a summer haircut,” he replies. It emerges that she’s been “keeping tabs” on him, as she learned that he didn’t finish physical therapy after his gunshot wound, and she asks him to tell her anything.

It’s a neat reply, and I liked this scene a lot. A bit of classic Armitage eyelash flutter as he explains that his father beat him for breaking the rules, but that the beatings were numbing so he continued breaking the rules.

Daniel / Trevor (Richard Armitage) pauses a moment before he tells Esther about his childhood, in Berlin Station 2.1. I really wish they’d shoot these scenes in slightly more light. I get the point but they’re overdoing it.

In short, Daniel isn’t especially frightened by neo-Nazis.

“I’m not scared,” Daniel (Richard Armitage) tells Esther, in Berlin Station 2.1.

Esther, in a very dry way, tries to sympathize (what’s worse: the abuse or Daniel’s decision to keep on breaking the rules). His reaction is kind of interesting, although I had to overexpose the frame to see it — he gives her the side eye

Daniel’s response to Esther’s reaction, in Berlin Station 2.1.

Is this a flirtation? Esther notes that she’s never been to Daniel’s apartment and now she’s at Trevor’s his first night in town, but Daniel brushes past her very closely and says that Daniel is much more hospitable than Trevor. They dress the corpse, position it, and Daniel shoots it through the forehead. It’s a ruse intended to get Daniel into the sphere of “them” (presumably the neo-Nazis).

Next: a right scene bar.

“American?”
“You gotta problem with that?” Daniel Miller (Richard Armitage) in a far Right scene bar in Berlin Station 2.1.

He offers them money for help with “something I need disposed of.”

Daniel’s first glimpse of Lena Ganz (Emilia Schühe) and Armando (Jannis Niewöhner), to whom he’s just offered money, in Berlin Station 2.1.

Back at the apartment, Trevor explains: a weapon deal gone bad, a body he needs to get rid of. One of the people who’s come along notes that the guy’s shoes are missing, but Trevor distracts with a big wad of cash and an emotional insistence that the guy had tried to cheat him and he can’t go down for this, but doesn’t have a car.

How a neo-Nazi looks vulnerable: Richard Armitage playing Daniel Miller playing Trevor Price in Berlin Station 2.1.

Lena agrees that they will help him. Following the time-honored tradition, they wrap his body up and drop it into the Spree or the Landwehr canal (this is something that happened to a few twentieth century victims of political assassinations). They then offer him a pipe of something (crack, meth?). I’ll be tactful enough not to cap him with the pipe, but I did find the exhale beautiful, as usual.

I’m sure he didn’t inhale.

Cut to the slightly modified series titles:

A new view shown in the series titles. Same song.

This is a nicely cut beginning sequence — it’s got a solid tempo, it is relatively low on exposition but gets the details we need to know in, it connects itself effectively to the previous season for previous viewers, and then it wraps itself up nicely. (And it’s the prelude to the story, not its implied conclusion). Good job so far.

The titles are followed by a brief glimpse of a political rally with an unusual amount of German flags (for non-Germans: flag-waving is not a big thing in Germany, or at least not until very recently) and sort of #MAGA politician named Katerina Gerhardt who’s sick of the refugee situation. She’s standing in front of a placard that says “Deutschland / Wach Auf” (Germany / Wake Up), a permutation of a phrase that has an ominous history in Germany. Transition to the station, where the spies seem to be watching the same rally on their TV screen when we get our first glimpse of BB Yates (Ashley Judd), the new station chief.

Ashley Judd as BB Yates, the “station whisperer.”

Yates explains Gerhardt’s background as the camera cuts from her to the rally — Gerhardt’s party, Perspektive für Deutchland or PfD, clearly modeled on the AfD party, which just captured 13 percent of the popular vote in Germany’s last national legislative election, is trying to capitalize on the rightward swing in European politics, which is more than just the casual expression of marginal neo-Nazism, anti-Semitism and Islamophobia that Germany has known up till now.

Katerina Gerhardt (Natalia Wörner) rallies her supporters against the background of the Berliner Dom.

This is a neat shot, insofar as she’s framed against one of the big symbols of the Prussian, and then the German Empire as she suggests that it’s time for Germany to cast off the stain of the Nazi period.

Yates introduces Otto Ganz (Thomas Kretschmann), a neo-Nazi “bad boy” who’s been on the watchlist since the beginning of the refugee crisis, and asserts they have intelligence to suggest that Gerhardt and Ganz are in league to move the election “by violent means,” even though they’re not seen together on TV.

Otto Ganz (Thomas Kretschmann)’s file.

As Gerhardt wraps up her rally, we see Ganz and his daughter Lena in a car nearby, observing the rally.

Thomas Kretschmann as Otto Ganz in Berlin Station 2.1.

They have a veiled conversation in which Kretschmann says that speeches won’t be enough and Lena asks if he’s found a supplies — he’s still working on it. Meanwhile Gerhardt has the crowd screaming “wach auf!” in response to her calls of “Deutschland.” Even though I know this is fiction, it reflects a growing reality that I find quite chilling. (There are regular marches now on Mondays in Dresden of PEGIDA, a similar group.)

Back to the station: Yates says a bit more about herself — she’s not a “station whisperer” but she can read the signs and this station needs a win, so she encourages them to go out and get one. I found all this fairly disappointing in the light of the rhetoric from the pre-season publicity: Judd sees Yates as a feminist hero, but here her acting is stiff and unconvincing, and does a station chief really wear a dress with a plunging neckline? Also, the attempt to create a mystery about why she doesn’t have an assistant is silly at this point. And of course, it indicates that Tamlyn Tomita has been written out, which was a shame — but oh yeah, she was a female character created only to facilitate Steven’s backstory, so of course she had to go. Grr.

Yates exits with Robert; the station hasn’t been informed that Daniel is in deep cover; they are on their way to meet with the US Ambassador to Germany. They’re just discussing that the State Department shouldn’t be asserting control over them (this is a result of the “new world order”) and that Robert should stay calm. As they’re getting heated, April (Keke Palmer) emerges from the elevator.

Robert (Leland Orser) meets new agent April (Keke Palmer) in Berlin Station 2.1.

Keke is an especially promising newbie whom Robert promises to wear down.

My growing conviction that Olen Steinhauer and Brad Winters couldn’t write a script that incorporated a realistic vision of a feminist if she bit him on the ass grows significantly in the next scene, when Yates and Kirsch meet with the new ambassador, who orders Yates to give him copies of all of the station traffic and a summary of ongoing operations by the next day. (Background for non-Americans: the CIA reports to the Director of National Intelligence, who’s a cabinet-level office just like the Secretary of State [the ambassador’s boss]. The structure of the US government means the ambassador should have no influence over the station.)

US Ambassador Hanes (John Doman) explains to Yates how things will be, in Berlin Station 2.1.

Hanes knows this but points out that things have changed (elliptical reference to the 2016 presidential election and a presidential administration that is, in point of fact, friendly to far Right European politicians like Nigel Farage and Marine Le Pen). Kirsch is busy providing background noise, in a way that looks like he’s trying to undermine Yates, but usefully points out that the US administration probably wants the right to gain in the elections. Hanes vehemently denies this, as Kirsch continues providing background noise to the conversation in a way that makes it look like he’s undermining Yates, and Yates sweetly agrees to give Hanes what he wants, but lies when asked if there’s “anything in play.”

After they leave, Kirsch is angry at Yates, who uses the most graphic possible language to indicate that Kirsch misunderstood what was going on because of his involvement in the power struggle and was too busy to notice that she was putting the ambassador off. I won’t discuss this in detail except that this conversation meant for me that the feminist boat in the series has sailed. It’s inconceivable to me that a female CIA station chief would behave or speak this way: this is an Olen Steinhauer wet dream, I’m sorry Ashley Judd is involved with it, and the stiff quality of her acting suggests that she wasn’t very convinced, either. Hopefully we won’t see much more of this such that I actually have to get involved in an analysis of everything that’s wrong with this scene. Important takeaway, however — when Kirsch asks if she’s going to tell Hanes about Daniel, she states that even Langley (CIA HQ) doesn’t know about the operation yet. Second important takeaway: Yates wants to free Berlin Station from the CIA stranglehold and have it make its decisions and run its operations democratically / internally. Kirsch agrees this would be a good idea.

Sixteen minutes in, Daniel is sleeping off whatever that drug was in a crummy apartment.

Does Daniel (Richard Armitage) drool when he sleeps? Berlin Station 2.1.

 

He realizes he’s hungover. Or crashing or whatever it is people do after meth or crack or whatever that was.

But one thing you have to say about fake neo-Nazis: they always have great boots.

He wakes up in a (for German standards) extremely rundown, cluttered, dirty house, with a lot of people crashed around him, including some naked ones. When he tries to leave, Armando tells him the police have been to his apartment (“someone must have called them” — who?) and he will need to stay away for awhile. They’ve taken his wallet and phone but “they will show up.” Lena, Mr. Ganz’s daughter, will be back. This is his house. Armando tells him to relax.

Daniel doesn’t look very relaxed.

Cut to Yates and Esther Krug meeting — exchanging jokes about German vs American stereotypes (punctual vs obese). More stiff acting from Judd. The outcome: Yates wants more information about Daniel’s situation. Krug says she would like to do more about the PfD because it has sympathizers in the BfV. They’d like a camera in her apartment, but with no accountability. Yates pauses for a second and then appears to agree — suggesting a personal alliance with Krug (“let’s have each other’s backs”).

Esther (Mina Tander) agrees to Yates’ proposal without a lot of enthusiasm, in Berlin Station 2.1.

In the next scene, Steven Frost is back, as a consultant — and meeting with the US ambassador. He’s got a beard now. Kelly’s got her house in Provence. I have to admit that it’s extremely hard for me to watch the US ambassador parrot the Trump administration line here, not because the line itself is wrong, but because of the person who’s promulgating it. Steven warns Hanes that presidents come and go but intelligence is forever; Hanes says things are changing and Frost should be happy because Langley hung him out to dry. Hanes hints, and then says, that he wants to do things differently in Berlin and that wants Frost to join an intelligence agency they’re creating within the State Department. (Incidentally, as far as I know this would be illegal in the real world.)

Back at the Nazi house (which really looks like a squat), Lena comes home. She sounds surprisingly like Heidi Klum. She tells a hostile Daniel / Trevor he needs nourishment because he’s coming down, so they all go to a Turkish grocery.

When Daniel realizes one of his new compatriots has a knife …

… he puts on his happy neo-Nazi face …

And initiates the trashing of the store to prevent worse.

Back at the station, Yates introduces the operation to put a camera in Gerhardt’s apartment. Yates outs herself as someone who wants experienced agents to “get their elbows dirty.”

Valerie (Michelle Forbes) is not excited about that.

Yates also tells them that the ambassador will not know about this operation and Langley doesn’t know either, and when questioned responds that “they are trading the brown skin for the white,” i.e., the operational elements are the same for bugging Gerhardt’s apartment or an ISIS sleeper cell. Boy, I bet Judd loved saying those lines. She also manages to insert the episode title into the scene.

Returning to the Daniel plot line, Lena and Daniel / Trevor are doing schnapps in a bar. She starts to quiz him about the guy who was killed — wouldn’t he worry if a foreigner bought a gun and then used it in a mass shooting? Daniel / Trevor says he’s not involved in politics, but he doesn’t have a big client base at present. Lena signals that maybe she can help him out.

“I can get you whatever you want.” Too bad he’s talking about weapons …

She gives him back his phone and wallet, and she leaves, he catches a glimpse of Ganz. (And he says he’s going to the restroom — how American of you, Trevor!).

Next, Esther and Robert are eating in a restaurant to discuss the necessary ensuing weapons deal. (They’ve apparently learned their lesson after the shopping mall incident last season.) She agrees to hand guns but not assault rifles. Kirsch notes that they have agents looking for a way into Gerhardt’s apartment; Esther says she can’t do anything until she knows who Gerhardt’s contact in the BfV is.

Cut to Valerie and April scouting out Gerhardt’s apartment. April is quite the eager beaver, tracking departures and arrivals; she’s also got an app from Esther to disable the house security. The other problem is the childminder, which brings them onto the topic of children. Valerie doesn’t have any because of the job; April points out that Gerhardt has children and seems to admire her. (Servetus interjects that the fact that many elite German women have not just children but big families isn’t due to individual effort on the part of these women alone, but also on the extensive social services offered to young families including income support, which are non-existent in the U.S.) Valerie reminds her that Gerhardt should not be admired.

At the station, Yates appears to consent to Kirsch’s pressure to steal weapons from the armory at the Rhein Main airforce base and give them to Daniel. They are “off the books.” Cut: Steven has a new, very chic apartment where he’s watching Gerhardt on TV and wondering what to do.

Daniel / Trevor (Richard Armitage) and Lena (Emilia Schühe) discuss her father’s past, in Berlin Station 2.1.

And then we’re in a car, with Daniel / Trevor and Lena waiting for the guns to be delivered. This is a neat scene with flashbacks to the first — Lena telling us about how misunderstood her father is; Esther telling Daniel about Ganz. Keep in mind, of course, that Esther’s and Lena’s fathers have similar backgrounds — but Otto Ganz was not only a Stasi operative, he was a guard at Hohenschönhausen prison. [Servetus interjects: this is one of the utter low points of GDR history. If you’re ever in Berlin, visit the museum that’s there now and take a tour of the prison, if possible, with a former inmate. You will lose any optimistic you ever had about far Left governments. The prison in The Lives of Others is plausibly the same institution, but you don’t see its true extent in that movie.] One thing I’d like to fact check — I’d be surprised if there had been an “extermination” order for Stasi prisoners in the last days of the GDR. I’m not saying there wasn’t one, but it’s not something I’ve heard before and I’ve read a decent amount on this topic, including being on that prison tour twice. Ganz got his feeling of family from the Stasi and Lena loves him very much as “he’s all she has left.”

They drive to a deserted location and play shoot-’em-up. Lena gets a real thrill from emptying a magazine. She asks him about his past and he says that he was prevented from using the weapons knowledge he has when he should have. She admits the whole thing was a test — she needed to know he was who he said he was. She and her father are preparing for a war and she’s sure he wi want to join.

Change of scene: April and Valerie are now about to break into Gerhardt’s apartment. Looks like it’s in the Grünewald — a very tony part of western Berlin. Just as she’s about to place the camera, someone shows up, so Valerie decides to play the role of someone looking for cat in order to distract him.

Valerie (Michelle Forbes) as distressed owner of missing cat, “April.”

It looks oddly like love at first sight, although I’m sure Valerie is just mirroring the man’s attraction back to her. Right, Valerie? April is okay, and it turns out the man was Joseph Emmerich (Heino Ferch), Gerhardt’s political advisor and second-in-command.

Change of scene back to a coffee shop where Daniel / Trevor gets a message about a meeting with Ganz, then hides a bug in his coat collar that he’s hiding in a coffee cup.

Change of scene: very awkward encounter between Kirsch and Yates about the camera in Gerhard’s apartment (now running). Power struggle? Sexual tension? Bad acting? Impossible to tell.

Change of scene: rooftop restaurant with Kirsch and Frost. Frost tells Kirsch about Hanes’ offer. Frost lies when he tells Kirsch that he refused the offer, then asks what they’re doing about the election and Kirsch refuses to tell him anything. This is the first real plotline that interests me outside of the main one — a Kirsch / Frost tussle could get very interesting.

Change of scene: the Nazi bar. Daniel / Trevor has arrived for his meeting with Ganz. Armando frisks him and finds the bug — but it turns out Armando is Esther’s / the BfV’s man.

Armando (Jannis Niewöhner) lets Daniel / Trevor (Richard Armitage) into Ganz’s office, in Berlin Station 2.1. Funny sign on the door: “Danger of suffocation upon entering the room.”

Ganz asks Trevor who his supplier is, and Trevor insists Ganz deal with him. Ganz balks and ends the discussion. Lena tells Trevor her father has trust issues.

Brief cut: outside her apartment, Valerie discovers Emmerich, who’s tracked her down. He says it’s because she’s a beautiful woman. [Servetus interjects: I guess it must be over with the extremely attractive restaurant owner from the previous season. Also — what happened with that plotline around Valerie that we never found out anything about? Need to go back and look that up.]

Back to the bar. Trevor tips in a little Dutch courage and then storms back into Ganz’s office.

Trevor (Richard Armitage) admits he is working with someone, in Berlin Station 2.1.

Ganz says he’ll offer him a huge deal, but Trevor will have to take him to his supplier immediately.

Immediate cut to a car cutting its way through the fields of southern Spain, and Trevor leading the Ganzes to the supplier: Hector de Jean. Trevor / Daniel knocks on the door and informs Hector he has to assume one of his old legends, Andrew Chevalier, immediately or they will both be killed.

Two characters I’d hoped never to see together again. Ah well.

Your cross to bear with me is that I found the Hector de Jean storyline really tedious last season and I don’t understand how the CIA hasn’t had Hector assassinated by now. I was enervated by the spoiler about Hector when Palmer revealed it earlier this year. We’ll see how it goes. I’ll try not to be too mean.

Continues with episode 2, here.

~ by Servetus on October 16, 2017.

13 Responses to “Berlin Station 2.1, second impressions [spoilers!] #richardarmitage”

  1. I enjoyed your recap and had some similar reactions. I really enjoyed this episode. I was very uncomfortable during the grocery store scene, but the Trevor statements coming from Daniel didn’t bother me because I knew it was Daniel speaking to Esther about Trevor. I wondered if it is only when he is in character as Trevor that it will bother me. I also had the same flashback to the mall massacre when they are trying to get Esther to ok the gun sale.

    Your point about BB Yates’s low-cut dress (and April’s extreme eyelashes, and some impossibly high heels from last season) and her foul language (and some from Valerie last season) is something that has bothered me about this show. Based on my experience, having women leaders in a male-dominated field tends to change the behavior of men and women towards social norms — and not that the women have to act like men at their coarsest.

    Nevertheless, to the writers’ credit, the political leader, the US and German spy chiefs, Lena, Valerie and the newbie spy, are all women and it is treated as completely routine. I liked that.

    • Thanks, and thanks for the comment. After ell, you do have a female chancellor of Germany in reality — that helps. It’s not that German women are necessarily more emancipated than US women, it’s that the emancipation takes different forms and women in political life are infinitely less suspect than they are i the US. (Professorship is something different.)

      Absolutely agree re: your take on how women affect the workplace. And IMO now both Yates and Kirsch have grounds for a harassment complaint, should either of them sour on the relationship.

  2. I enjoyed reading this as it’s probably the only way I’ll get to “see” this show any time soon! My thoughts on the pictures and your recap:
    1-Bicep picture: How dare he!
    2-Tamlyn Tomita-If it makes you feel any better, she’s on The Good Doctor now, which is a fantastic show that I highly recommend.
    3-Crack pipe-Crack is whack, dude…don’t get messed up in that stuff!

    • I’m glad if this is helpful to you and happy that Tamlyn Tomita has found a good new job in any case.

      Yeah, I’m not planning to do any crack myself …

  3. […] from here. These posts contain spoilers. PLEASE do not read them if you are not watching concurrently with […]

  4. Hah, nach der Waffenübergabe an Trevor und Lena (Min.33), sitzen beide in einem Auto mit dem amtlichen Kennzeichen B-KA . Selten so gelacht…… 🙄

  5. Now that I’ve watched and jotted down my thoughts, I came back to read your recap. (Decided not to watch illegally as there seemed to be no way to do it that I could feel secure about.) Our thoughts on the episode are fairly similar, I think, although I do like the Hector DeJean and Steven Frost characters. In the meeting with the ambassador, though, I didn’t think Kirsch was trying to undermine Yates. I actually felt sorry for him because I felt that he thought he was going to be treated as an equal by the other two. Instead, no matter what he did, he was dismissed like a pesky junior.

    • Illegal viewing: I always feel like I’m asking the “is this worth it” question on that score.

      re: Kirsch’s behavior — the question repeats itself in episode 3. I don’t know, because Orser said in an interview, and I agree that it seems to be suggested, that Orser doesn’t want to be station chief. And last season what he wanted was to be posted back to the US. But if so his behavior is odd.

      • I’m trying to remember, but I’m thinking that Kirsch was more part of the conversation during these kinds of meeting in the first season. But this ambassador wants to deal directly with the chief only. I’ll be interested interested to see how the Kirsch/Yates dynamic develops, although a flirtation (and more?) doesn’t seem to fit to me.

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