What to Watch Verdict
Focusing on traditions and the complex Layton and Pike dynamic leads to an emotionally satisfying episode.
Pros
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Finally some high stakes that are matched by the outcome
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The Tailie callbacks
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The chase sequence
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Asha’s succinct “many dynamics” observation
Cons
- -
Ruth can’t catch a romance break
NOTE: This post contains spoilers for Snowpiercer season 3 episode 6.
Before Wilford (Sean Bean) made his grand return, Snowpiercer had a long history of leadership disagreements. The Tailies bonded in their horrifying living conditions but were far from united when it came to organizing the uprising, shown by Layton (Daveed Diggs) and Pike (Steven Ogg) often being on different sides of the argument, partly stemming from Pike’s lack of trust.
Layton retaking control of the train has magnified every little gripe Pike already had against his Tailie comrade, which culminated in an assassination attempt last week. Now, Layton is on the hunt for the person who tried to kill him and the end result is a tense and emotional installment of the post-apocalyptic drama.
The brief moment Layton took to bask in his newborn baby's glow is over and the search for the bombmaker gets underway. Till (Mickey Sumner) quickly recognizes the type of bomb as one Tailies previously used, which narrows down the list of suspects. Layton initially assumes it is someone connected to Wilford as “it takes a special kind of psycho” to enact a plan like this during the birth of his child. He has no qualms about welcoming Pike into the safe confines of the Big Alice engine room because a Tailie could never do this, but the audience knows the opposite is true.
“I trust you,” Zarah (Sheila Vand) tells Pike when she implores him to hold baby Lyanna. His reaction to them opting for the naming tree over the nearest city Tailie tradition is a clue to his mood. However, it isn’t until Till confirms it was someone who knew about the bomb-making cookbook that Layton realizes the man holding his daughter is who tried to murder him. “He’s here,” Layton calmly tells Till on the phone before chaos kicks in.
The chase is on, with the train’s tight corridors making for a claustrophobic and exhilarating sequence. Pike has the upper hand because he knows every carriage like the back of his hand. It also doesn’t help that Layton has a concussion from the bomb blast. Pike gets away, but this assassination attempt is not going to sit well with the Tailies who have fought alongside both men. Wilford preaching an empty version of loyalty a few weeks ago has nothing on the bond cemented in the back of the train.
“Do you think any of us still Tailies?” Miles (Jaylin Fletcher) asks his adopted mother Josie (Katie McGuinness) about the section of Snowpiercer that no longer houses a community. It has been a while since we saw the young engineer (his hair has grown a lot!) and the teenager doesn’t necessarily have the same connection as the people preaching “once a Tailie, always a Tailie.” The way Josie sees it is if you can remember that way of life then you are still bound to that community. Layton might be the de facto leader but at his core, he is still linked to the methods they adopted to survive.
This inspires Miles to suggest a conflict resolution practice of the past to solving this rift. Old Ivan, who died in season 1 but was a respected Tailie voice, used to sit the quarreling parties down in a curtained-off section to hash out terms so they could move on from whatever the grievance is. It all sounds very civilized and far more upfront than a sneaky bomb. However, if they cannot come to an agreement then a fight to the death is the last resort.
Considering how stubborn Pike is, the outcome seems pretty set in stone from the get go. While Josie believes this can end with no bloodshed, Pike is not willing to compromise. He has already turned down a leadership role and is not someone who cares about sleeping in a fancy abode. Desperate times call for Layton offering things like becoming godfather to his daughter, but all Pike wants is for them to “call the knives” and end this in violent fashion.
Why is Pike doing this? First of all, he is fed up with being Layton’s “errand boy” and losing good people like Strong Boy for this cause. Six months without Layton on the train is enough to twist Pike’s bitter feelings to the point of no return. His contempt swells when Layton brings Ruth up, as he doesn’t want this corrupted.
One person who sums up the issues going on between the two men is newcomer Asha (Archie Panjabi). “Many dynamics,” is the reason she gives Pike for her subterranean hiding place; the Snowpiercer politics are overwhelming for someone who has spent the last few years alone. Pike was already suspicious of the New Eden plan and Asha’s fondness for the dark confirms something is being withheld. When Pike reveals he knows Layton is lying about New Eden it becomes clear he will have to call for the knives, which effectively signs Pike’s death warrant.
It is a fairly even battle but only one of these men is the Snowpiercer lead. In the scuffle, Layton stabs Pike through the heart and the Tailies (and Ruth) say an emotional goodbye to the fallen man (Snowpiercer breaks its habit of avoidance on killing regular cast members).
Layton isn’t in great shape either but has to stay with the body (also tradition) after everyone else leaves. The last time he was having a medical crisis he saw an image of a Dragon’s Blood Tree and this happens again, but mixed in with those images are flashes of the past and an ominous skull symbol. Is this a warning about their destination?
"Born to Bleed" is a packed episode that makes other strides including Roche (Mike O’Malley) putting some of his rage issues aside for his teenage daughter (who has found a friend in Alex). It isn’t all happy reunions though, as Miss Audrey (Lena Hall) is sickened by the weakened Wilford in his post-suspension state. Wilford suggests maybe Layton is right and she almost throws up at this betrayal.
Asha was right when she said “too many dynamics,” but the death of Pike removes one antagonist from the train and propels Snowpiercer forward.
Emma Fraser spends most of her time writing about TV, fashion, and costume design; Dana Scully is the reason she loves a pantsuit. Words can also be found at Vulture, Elle, Primetimer, Collider, Little White Lies, Observer, and Girls on Tops. Emma has a Master’s in Film and Television, started a (defunct) blog that mainly focused on Mad Men in 2010, and has been getting paid to write about TV since 2015. It goes back way further as she got her big start making observations in her diary about My So-Called Life’s Angela Chase (and her style) at 14.