We Love You

Lucy Rawlings reviews the brand new season of You

HAS our hunter finally become the prey of his past?

Joe Goldberg, or rather his renewed identity as literature professor Jonathan Moore, returns to our screens once again to restart his life, this time attempting to settle in our own London city. There is something about Joe (Penn Badgley) strolling around Royal Holloway’s University Campus, sitting in pubs and attempting to embrace the English culture, that makes this series tantalisingly close to home.

I attempted to ignore the rather predictable pattern every time Joe begins a new life; once again, he lands a good job, with a new name, with a bookish and cosy home that just happens to have a perfect view into his future love interest’s apartment.

But of course, the present moment is never that peaceful when you have a past that enjoys tormenting you.

Viewers were left feeling rather ominous over Marianne at the end of series three, with Joe following her to Paris after Love told her of his murderous habits. This series flashes back to their encounter in Paris, as Joe, in what one could describe as a desperate chase of love, was more realistically hunting down an innocent woman. What surprises viewers is that Joe lets Mari- anne go, even when she rejects his advances. She is able to escape his desire for her, but there is a catch — she knows he is alive, and more so, knows he is a killer. All of the other women who unearthed Joe’s obsessive and neurotic mind are now buried in earth. Will this cost Joe in the second half of the series?

Joe just seems to fall into the wrong places and meet the wrong people, which awakens the darkness that breeds within him.

The series sheds new light onto a different range of people for Joe to interact with — scriptwriters Greg Berlanti and Sera Gamble choose for Joe to experience a privileged, small-minded and naturally irritating circle of socialites, introduced by fellow professor and neighbour Malcolm Harding (Stephen Hagan). New characters include Lady Phoebe (Tilly Keeper) and her boyfriend Adam souls that have met. With all its might, it calls forth an erotic worldview, which it then lavishly bestows upon the audience.

Pratt (Lukas Gage), who seem to create a disillusioning atmosphere. These aristocrats make Joe look incongruent, as they create a vibrant and chaotic environment in bringing him into a whirlwind of alcohol, drugs and elitist petulance. It is no surprise that 30 minutes into episode one, the dead body of Malcolm is found on Joe’s kitchen table. Yet, this is a pivotal moment, because Malcolm’s murder introduces a new channel of suspense for the series: Joe’s very own stalker.

As different characters in the circle get their fair share of scrutiny from Joe as he attempts to protect his past, there is one person I could not shake off from my own suspicions. Rhys Montrose (Ed Speleers) was also an outsider in this circle of privilege, and seemed to bond with Joe over difficult childhoods. One thing You has taught me, is not to trust the supposed ‘pure’ characters. Unsurprisingly, the stalker in this English manor setting, is revealed to be Rhys in episode four as the ‘Eat the Rich Killer’. What I find rather striking is this fresh political lens upon the narrative — a classist motive for the murders committed by Rhys, who desires to destroy aristocracy. Does this all link back to Rhys and Joe being men who connect together in having a childhood full of isolation, injustice, and starved of love?

CALL ME BY YOUR NAME FULLY SERVES EROS BY FUSING LUST AND LOVE

Of course, it would not be a series of You without a self-destructive love interest, with this series introducing Kate Lockwood (Charlotte Richie), who was Malcolm’s partner. Kate fits neatly into Joe’s type of broken women with unseeming backgrounds. She lies within this elitist circle, but seems disconnected and tempts viewers into firstly suspecting her as the stalker. This relationship seems inauthentic, with an unconvincing flittering of sexual tension that is weak and lacking passion. I thought Joe was less engaged, side-tracked, and does not have the drive for love he once had.

Is Joe a lost soul who deserves another new chance at life, craving the stability he never received as a child? Or is this merely an excuse to murder and be fuelled by a psychotic, narcissistic force?

Whether it is morally right or not, Greg Berlanti and Sera Gamble twist my mind into favouring the antagonist. Does Joe deserve a happy ending or a prison sentence? We wait until 9th March to find out.

IS JOE A LOST SOUL WHO DESERVES ANOTHER NEW CHANCE AT LIFE?

EDITORS: Annabelle Law and Madison Sohngen