I know a lot of you are choosing to binge watch Cross. I don’t. I binge watch movies like Bridgerton where there’s no real mystery unfolding, just beautiful people falling in love. I also avoided binge watching as it’s easy to miss subtle details and nuances that are only noticed when you watch at a slower speed. Since you can only see something for the first time once, I wanted my first viewing experience with leading men Aldis Hodge, Isaiah Mustafa, and Ryan Eggold to be memorable . Therefore, I plan to watch and review an episode each week to build and prolong my anticipation and excitement, thereby enhancing my overall viewing experience. I encourage you to delay gratification and watch with me every week. If not, I hope you take the time to read my weekly reviews and share your thoughts. Let’s get started.
“Riding the White Horse”—CROSS, pictured: Ryan Eggold as Ed Ramsey.
When I saw the title of the second episode, “Riding the White Horse,” I couldn’t help but have impure thoughts about Ed Ramsey (played by Eggold). Am I as miserable as Shannon (Mumford), who admits to loving Ramsay’s guided tours of the Marquis de Sade-style museum and its associated sadism? No, no, no. From the beginning of the episode, you’re drawn into a world crafted by creator Ben Watkins and expertly performed by Hodge. Hodge brings the fictional cross to life in a way that blurs reality. Cross’s chain of command, for example, is committed to a narrative in which Emile’s death was an accidental overdose, not murder. Of course, Metro officials want to close the case and suppress any anti-police protests. Inside the squad room, Cross continued to argue that Emile Goodspeed’s death was related to Tavio’s death. The lost phone is the key. While watching the video of Tavio’s murder, he noticed Tavio’s girlfriend, Vanessa, had taken the phone away. Cross looked respectfully at his superior, Lieutenant Massey, and said, “Bitch, I told you so.”
The Cross series deftly balances compelling storytelling and authentic character development, and it’s like discovering a rare gem. It’s the little things that get me, like Cross’ best friend and costar John Sampson (Mustafa) calling him by his nickname, “Sugar.” Other times, the focus is on unabashedly pro-Black family values. Sampson (Uncle John) once again teaches Cross’ children about dark history by playing trivia games, or when he offers to babysit the kids while encouraging Cross to pursue his romance with Ellie – at least It’s the sexual part.
Ride the White Horse – CROSS, pictured: Isaiah Mustafa as John Sampson. or its affiliates.
At times, it’s the humorous and ominous exchanges between Ed Ramsey and Bobby Trey (Gill). For example, Ramsey told Trey, “Be a good puppy and keep the leash.” Trey said to Ramsey’s face, “I’m not one of your minions. If I get caught, we’ll There’s trouble.” “Oh, it bites,” Ramsay said quietly as he carried Trey inside. The two are certifiable; however, it’s disturbing that Trey is one half of this dastardly duo that promotes restraint.
For those of you who haven’t seen it, I won’t reveal any of the twists and turns in this episode. Be warned, however, that the clever execution of the plot twists will trick you into forgetting that you are watching a scripted production. Each character’s mature and authentic reactions draw you in and make you feel like you’re living through their journey. I had one of those moments when Vanessa met Trey. My second contrasting experience was with Ellie (Walkes) dancing with Cross. Ed Ramsey isn’t the only character who gives me impure thoughts. Like Elle, I’m willing to wait. Just wait. Just wait.
“Ride the White Horse” – CROSS, pictured: Aldis Hodge as Alex Cross.
One last thing. The music selection in this issue is also a highlight. Each track tells its own emotional story, seamlessly connecting with the character’s journey and enhancing the narrative depth. I’m referring to Trey’s drug-driven, manic playlist, which captures his menacing state and injects a palpable sense of urgency and tension into his scenes. As Cross reflects on the anniversary of his wife’s death, a melancholic jazz tune perfectly highlights his sadness and loss. Finally, the romantic melody of “My Knees Are So Weak” that plays as Cross attempts to reconnect with his old friend tenderly reflects his vulnerability and desire to heal. The music selection in this issue is more than just accompaniment; it has a powerful and emotional resonance that helps enhance the viewing experience.
Cross is a thoughtful, character-driven narrative. It evokes an emotional response from the audience without making them feel manipulated. In “Ride the White Horse,” Cross relentlessly uncovers the truth about Emile Goodspeed’s murder, bringing him to Ramsay’s doorstep multiple times. My only criticism is that Cross and Sampson have to deal with some unpleasant female characters, including Sheriff Anderson (Wigmore), fellow detective Dracna (Greenwell) and troubled reporter Tania · Hightower (played by Murphy), they work in the crossover department.
“Ride the White Horse” – CROSS, pictured: Sharon Taylor as Lieutenant Oracene Massey and Stacie Greenwell as Shawana De Lackner.
Please don’t let this small criticism stop you from watching. Hodge’s Cross remains the main attraction, as does the excitement of Eggold’s Ramsay’s chaos and Gill’s Trey’s madness. Starting with the second episode, the show does not disappoint and remains a must-watch for crime drama lovers.
What are you going through? Did you watch all the episodes in one go or did you take your time like me? Please tell me in the comments.
Overall rating:
9/10
Lynette Jones