–And as of this moment, we’re in an old-time Brock Samson action sequence. This is what we’ve waited for all season, and he does not disappoint. Brock and Molotov have a complicated relationship. Frequently they try to kill one another, but sometimes he trusts her enough to leave the boys in her care (as in “Assassinanny 911”). But since he’s been with SPHINX, he’s finally realized what kind of threat she is. In general, since joining SPHINX, he’s more aware of what the stakes are. And I think the fact that she brought her unique brand of homicide to the Venture Compound pisses him off even more – he loves those dopes, and even if he isn’t officially their bodyguard anymore, he is not going to let any harm come to the boys and Doc. And this should go without saying by this time, but composer J.G. Thirlwell does a fantastic job with the music here. He basically just kills it on a regular basis, so it’s easy to overlook him, but the faux-Morricone bit that opened this scene just set the stage so perfectly. Finally, you probably remember the TRON cycle from “The Diving Bell vs. the Butter-Glider”. See? That was a throwaway gag then, but they brought it back to kick some ass.
It’s Last Tango in Paris, not On the Waterfront.