‘Reacher’ Season 2 Episode 4 Recap: “A Night At The Symphony”

It’s convenient for us that Shane Langston, Robert Patrick’s harrumphing, frowny-faced New Age Technologies security director and revealed afterhours helicopter body tosser, is so bent on keeping Reacher and his people off his trail, because it’s Langston’s henchperson rolodex stocking Reacher Season 2 with increasingly entertaining fight sequences. The team Langston sent to Atlantic City with orders to kill? Dixon and the big fella submerged their bodies in cement. The house in Queens, stocked with New Age security personnel and hired muscle? Reacher and his crew went full obliteration mode on that attempt, complete with an improvised explosive device. (Plus an improvised gas grill projectile.) And here in Reacher Season 2 Episode 4, in this season’s best donnybrook yet, a motorcycle gang Langston must keep on retainer for this sort of thing gets their asses handed to them by the special investigators. It’s like nine on four but that doesn’t matter. Reacher doesn’t even wait for the leader’s cocky schpiel. And he doesn’t reserve his trademark head butt move for just smashing faces, instead using his skull to demolish a dude’s humerus, ulna, and radius. Faces, fists, clubs, blades – whatever it takes. Karla Dixon even puts the spiky heel of her shoe through an MC guy’s eye.

That’s right, Reacher and the special investigators did all of this goon dispatchment in formal wear, the reasons for which we’ll get to in a second. What’s more important about the group’s impromptu trip to Boston is how it leads to a reunion with Malcolm Goodwin as Oscar Finlay. Reacher leaving Margrave, Georgia at the end of last season to resume his wandering existence suggested we wouldn’t see any more of the allies he’d made there. But in a really cool throwback, it’s Finlay Reacher contacts when the team needs a hand. It turns out Margrave’s chief of detectives didn’t retire, but instead returned to his hometown to become a lieutenant with Boston PD. And so, when the team needs to lean on the slimeball legislative director of a senator linked to New Age, they tap Finlay to make their ruse about ensnaring him in a drug bust look real. Finlay pulling the guy into custody, Reacher and O’Donnell in suits, playing at being FBI agents – it does the trick, and sets a strong precedent for Reacher to keep bringing back favorite former players. Roscoe Conklin, you still out there?    

The ex-110’ers have made more sense of the numerical data Franz left behind. It’s a tally of attempts. 2,197 events completed, but only 1,547 successfully. With 650 as the difference. As in 650 at $150K. The documents pilfered from their vehicular B&E at New Age also connected a certain Senator Lavoy to a weapons project the aerospace firm codenamed “Little Wing.” O’Donnell, in his private sector work, often ensnares beltway operators in deals for dirt.

And his methods are perfect for convincing the senator’s legislative aide to talk. Dixon and Neagley, in gowns, target Daniel Boyd (Kyle Mac) at Boston’s Symphony Hall. A little bit of flirting, a little bit of planted cocaine, and Boyd’s in more than a little bit of trouble with Finlay and the police. Boyd sings to Reacher and O’Donnell about Little Wing, anti-missile software that New Age tweaked for use in shoulder-fired rocket systems. Only about that money, the aide and the senator assumed Little Wing would never fall into enemy hands. They were naive. And now it seems like Langston is selling this deadly New Age tech to the highest bidder.

Russo watch: the movements of Gaitano “Guy” the NYPD detective are becoming, as they say, totally sus. It’s easy to agree with Russo’s boss, Lieutenant Marsh (Al Spienza), who gives him an earful about the smash-and-grab at New Age Technologies, which occurred before the detective could execute his hastily requested search warrant. “And I bet it was those tin soldiers you were supposed to be keeping your black eye on,” Marsh shouts at Russo, who then orders his boss to keep his voice down – that seems bold – and then swears he’ll make the whole thing right. Reacher’s wise to keep Russo in contact, but at arm’s length. He doesn’t tell the detective about the team’s trip to Boston until they’re already going. And even if Reacher is just annoyed with Russo, not suspicious of his motives, we still are.   

What about that other loose end, the man known only by his A.M. aliases? In Denver, the swarthy chameleon murders a cosmetic surgeon so he can steal his identity and fly to JFK for his previously scheduled meeting with Langston. Reacher and his people have discovered that New Age has a manufacturing facility in Denver, the kind of place one might combine top secret guidance software with the hardware of shoulder-fired rockets. Their plan? Send Dixon and Neagley west on the trail of that hardware, while Reacher and O’Donnell head to Homeland Security in Washington, DC. Reacher’s late brother worked at Homeland, and he’s hopeful Joe’s old contacts can help the 110’ers uncover more intel on A.M.’s true identity. 

It’s this plan to split the team that’s in the works when Langston’s motorcycle gang friends corner Reacher and the crew behind a late-night restaurant. After the beatdown, as the special investigators are shaking off the pitched battle surrounded by the unconscious, broken bodies of their adversaries (Dixon, angry: “I fucked up my shoes”), Reacher calls Langston from the MC boss’s phone. “Before you ask if it’s done, it is. Just not in the way you hoped for.” Langston, always so smarmy, says Reacher’s causing his “complex operation” a lot of problems. And while it’s not like the New Age exec would actually follow through with a deal, he does ask what Reacher would want in exchange for ceasing with the henchperson bloodbath. But we already know what Reacher wants. And it’s real simple. “I wanna throw you out of a helicopter.” 

Johnny Loftus (@glennganges) is an independent writer and editor living at large in Chicagoland. His work has appeared in The Village Voice, All Music Guide, Pitchfork Media, and Nicki Swift.



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Spotify Premium Adds Free Access to Audiobooks in Australia and the UK

Spotify said on Tuesday that users of its premium services in the UK and Australia would now have 15 hours of free access to audiobooks a month, with the feature expanding to the US later this year.

The music streaming giant is looking to supplement its earnings with other revenue-generating formats such as podcasts and audiobooks. The launch of its audiobook service in the US last year challenged Amazon’s Audible.

Spotify last year laid out plans to get one billion users by 2030 and reach $100 billion in annual revenue. The company had also previously promised high-margin returns from its costly expansion into podcasts and audiobooks.

In July, Spotify raised prices for its premium plans across several countries including the US and the UK.

The company said on Tuesday that subscribers will be able to choose from a catalogue of over 150,000 audiobooks available as part of the existing Spotify Premium subscriptions, with the option to buy additional 10-hour allocations as top-ups.

Users must have a premium individual account or be the plan manager for their Family or Duo account in order to take advantage of this feature as of now, the company added.

© Thomson Reuters 2023


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Apple Books Digital Narration Announced, Will Let Indie Authors, Small Publishers Create Audiobooks

Apple Books, the company’s application that allows users to read Ebooks on their devices, has announced support for an AI-enabled feature to turn titles into audiobooks. The “digital narration” feature will make the production of audiobooks more accessible by reducing costs for publishers and authors, according to Apple. The company will use AI-enabled voice synthesis to read books and convert them into audio. The feature is currently available for English romance and fiction books and will later be rolled out to non-fiction genres.

The Cupertino company shared details of the new digital narration technology on its support page, stating that will make “the creation of audiobooks more accessible to all,” by reducing the production “cost and complexity” for authors and publishers. The tech giant says that the feature is currently available for romance and fiction books and the company is currently accepting Ebook submissions in those genres.

The digital narration feature will be available in two digital voices, Madison and Jackson. These voices will cover the romance and fiction genres, including literary, historical, and women’s fiction. Apple says the feature doesn’t currently support mysteries and thrillers, science fiction, and fantasy.

The company says it will also bring two more voice assistants, Helena and Mitchell, for nonfiction books. Notably, the service is only available in English at present.

Users can also search for AI narration in the Books app and will get a list of romance novels with “Narrated by Apple Books.” It also displays the specific name of the artificial narrator used i.e, Madison or Jackson that reads, “This is an Apple Books audiobook narrated by a digital voice based on a human narrator.” Additionally, the listing also includes free and paid audiobooks and artificial voices.

Apple says it has partnered with Draft2Digital and Ingram CoreSource for the production and distribution of converted audiobooks. However, it stated that publishers and authors will retain audiobook rights, and can put out other versions of the audiobook if they want. The app store will apply wholesale price limits and distribution of these audiobooks will be done via Apple Books and to public or academic libraries, according to the company. 


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Stream It or Skip It?

The continuing adventures of Ivy and Bean adventurously continue with Ivy and Bean: The Ghost That Had to Go, the second of their three hour-long outings on Netflix. The first, a monumental origin story simply titled Ivy and Bean, introduced us to introvert Ivy and extrovert Bean, two wildly imaginative little girls who meet and form an utterly charming duoship surely destined to not only rule their idyllic suburban cul-de-sac, but also their school, their town and probably the world. This chapter in their saga finds them attempting to control the teachers’ bathroom at school, which is kind of a long story, so let’s get into it.

The Gist: First things first: You don’t need to have seen the debut Ivy and Bean to enjoy this one, but it’d explain why Ivy (Keslee Blalock) has a dead frog in a baggie in the fridge. Her mom (Jaycie Dotin) is perfectly fine with that, by the way, which may tell us something about their relationship, if you’re into reading into things. It has been established that Ivy is now BFFs with her neighbor Bean (Madison Skye Validum), and they will do their best to remain inseparable in school. Bean does nothing as normal people would, so they enter the school via a backdoor to the teachers’ restroom, and it’s there that Ivy sees old pipes rattling by the ceiling and wispy things emerging from the vents, and deduces that they’re ghosts.

It also has been established that the figments of our protagonists’ imaginations are frequently visually dramatized, so there’s a good chance that the ghosts do not indeed exist. But that doesn’t stop Ivy from concocting a plan to eradicate them using spells from a kinda creepy spell book and potions consisting of strange ingredients from her inventory of dead frogs and the like. Eventually there will be a scene in which she dons a cape and goth-girl lipstick and eye makeup in order to cast said spells, and in that moment one may come to the conclusion that she’s the most adorable devil-worshiping occultist in the history of television.

But let’s not get too far ahead of the plot. It has to reintroduce us to Bean’s older sister and nemesis, Nancy (Lidya Jewitt), who’s the Smithers to this series’ Mr. Burns, Principal Noble (Jane Lynch!), who loves fancy shoes like Scooby and Shaggy love doing brainmelting bong hits. Apropos of nearly nothing, we also meet Ivy and Bean’s teacher, Ms. Aruba-Tate (Sasha Pieterse), who exacerbates character development by frequently condemning Ivy and Bean to the timeout rug – notably, something Ivy never had to do before she met Bean. Ivy determines that a lock of Nancy’s hair, nipped after midnight, is necessary for her unholy ghost-damning concoction, setting off a series of events that includes its share of toilet-based comedy, quite literally.

What Movies Will It Remind You Of?: If the first Ivy and Bean was like an estrogenic take on Diary of a Wimpy Kid, The Ghost That Had to Go adds a Captain Underpants-ish wrinkle by establishing a wacky-principal antagonist.

Performance Worth Watching: Pour one out for Lynch, who endures a scene in which she farts several times while not realizing children are within smellshot in order to once again play an intimidating character who exists in the sweet spot between hilarious and menacing.

Memorable Dialogue: Adults watching this series with their kids are bound to appreciate the highly relatable truisms the parent characters occasionally utter. Example: Nancy reallyreallyreally wants her ears pierced, but her mother (Marci T. House) won’t let her. “Honey, I just want a little bit of you not to grow up so fast. And I’m going for your earlobes for now,” she says.

Sex and Skin: None.

Our Take: The Ghost That Had to Go features exactly zero closeups of moldering dog dukey compared to its predecessor’s too many, and swaps out the meanie-neighbor-lady character played by Nia Vardalos for a solid helping of Jane Lynch. That’s a net improvement so far.

But it also clutters up the proceedings with a few of Ivy and Bean’s boring classmates, and stages its noisy climactic sequence in the can, where we watch in horror as all the characters don’t seem as grossed out by the idea of overflowing toilet water as they should be. So perhaps the assertion being made with the Ivy and Beans is, hey, girls can appreciate grossout humor too! Which is a dubious attempt at equal-opportunity gender-demographic entertainment, because I’m sure a lot of us believe the boys can have their worms and gagging noises.

The debut special balanced the (literal) dog crap with the undeniable cuteness of two kids making unlikely friends and indulging their imaginative impulses, often at the expense of Nancy, who’s sort of sympathetic, but also sort of an egocentric goody-goody who could use a mudball in the face on occasion. That stuff is less abundant in Ghost, but still present among the chaos and mayhem. So a rough final tally? Second verse, pretty much the same as the first – and so far, so good.

Our Call: STREAM IT. The Ivy and Bean series glorifies friendship and imagination – and mischief, which sets it apart from the usual glossy Disney Channel-type fodder for the tween/grade-schooler demo. It’s not smashing any molds, but it’s fun and amusing and lightly nonconforming.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan. Read more of his work at johnserbaatlarge.com.

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