Taxi 3 Episode 1
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Latka creates a suave but obnoxious alter ego, Vic Ferrari, to help him score with the ladies. However, nobody likes his new persona, and Alex tries to convince him to bring the old Latka back. George Wendt appears in this episode.Notes: George Wendt would later go on to play Norm Peterson on Burrows' next series Cheers in 1982.
Of course, the most distinguishing feature of Odokawa, and consequently of Odd Taxi itself, is his aptitude for banter. From sharp wit to hypnotizing inanity, the rhythm of mundane dialogue is the heartbeat of Odd Taxi. Each episode builds itself around conversations that Odokawa has with his passengers, and although he's not quick to start them, he's deceptively eager to keep them going. I know I fell in love with him as soon as he started dismantling the fundamental shamefulness behind the pursuit of Twitter virality. It's a cliché, but he was literally just saying things I had thought many times before about the bad bird website (by the way, please follow me on Twitter via the link at the end of the article, thanks!). And Natsuki Hanae's performance is just stellar; it's great to hear him act against-type and insert so much personality into Odokawa's soft, droning monotone.
The central puzzle of the missing high school girl and her ties to the mob is an important driving force, but Odd Taxi has been content to let it burn slowly in the background as it continues to establish its cast and setting. This is why I call the show banter-driven, as opposed to plot-driven. That said, I do like the increasingly tangled web it's been weaving, full of criminals and other shady characters, each with their own agenda and ambition. I'm not one for speculating too heavily, but I am definitely intrigued to see how all of these dots connect. The third episode, to that end, concludes on a hell of punchline, when it's confirmed that Kakihana's teenage Tinder sweetheart is actually one of the idols from Mystery Kiss, tailed by her very large manager. As Odokawa suspected, he's getting played, but towards what end, we'll have to wait and see.
Odd Taxi sure has a lot going on! In spite of that, it's been a consistently breezy watch. Its combination of jokes, jabs, drivel, and driving has so far ensured that each episode whips by in a flash, despite the show taking its sweet time setting its seedy stage. I'm on board, and perhaps more importantly, I think Odd Taxi's atypical approach to its characters, dialogue, and aesthetic could appeal to audiences outside of the usual anime sphere. It's probably too weird to be a big hit, but if it holds this level of quality, it has the chance to become one of those hidden gems you recommend to your friends years down the line. Lest I get too ahead of myself, however, I just want to say that Odd Taxi is a very good taxi so far, and it's worth hailing.
N.N.Biographical informationResidenceLondon, EnglandPhysical informationGenderMaleHair colourDarkFamily informationFamilyUnknownAffiliationOccupationTaxi driverBehind the scenesPortrayed byJordan LongA taxi driver is sitting in his taxi on Belgrave Square, when Rose MacClare comes out of the house of Rosamund Painswick, where she is staying while in London. She gets in the back of the taxi and tells him to take her to Warwick Square.
Later, Lady Rosamund, Matthew Crawley, and Edith Crawley are having dinner, having had to start without Rose. They are concerned, as she has left without telling anyone where she was going. A disturbance can be heard outside of the room. This turns out to be Mead the butler and the taxi driver. The taxi driver has come to the house to return the scarf which Lady Rose left in the back of his taxi, and Mead has insisted that the nervous man come into the dining room to tell everyone where he took Rose.
We get a sneak peek of the jinn (Mousa Kraish) early on in the series when he brushes past Shadow in a cafe, revealing burning eyes hidden behind sunglasses. But his starring moment comes in episode three, when he picks up a passenger called Salim in his cab...
Salim (Omid Abtahi) is a young Muslim man from Oman who has just moved to New York to work as a salesman for his brother-in-law. Unfortunately it is going terribly and money is running out. Exhausted after another failed sale, he hails a taxi and forms an immediate connection with the exhausted Middle Eastern man at the wheel as they share their stories of living in America.
In the novel, Salim (who is from Oman) tells the taxi driver: \"My grandmother swore that she had seen an ifrit, or perhaps a marid, late one evening, on the edge of the desert. We told her that it was just a sandstorm, a little wind, but she said no, she saw its face, and its eyes, like yours, were burning flames.\"
Several other characters are introduced in Odd Taxi episode 1: Shirakawa, Taeko, and the idols Rui and Shiho, making it clear that this is an ensemble cast. Immediately, the comparison can be drawn to the likes of Durarara!, which dealt with the criminal underworld in Ikebukuro. Nevertheless, Odd Taxi is a lot more subdued, hardly moving beyond the remit of a simple conversation.
Writer Miki Johnson cried the first time she watched the opening scene of \"Fire Pink,\" the penultimate episode of Ozark's third season, for which both she and director Alik Sakharov would score Emmy nominations. \"I was soaring with pride and emotion,\" she recalls, pointing to Tom Pelphrey's performance. \"Just amazing.\"
Described by Sakharov as an \"internal,\" \"unique,\" \"slow-burn\" of an episode, he believes \"Fire Pink\" can be watched and enjoyed even if you have zero knowledge of Ozark. \"Because of how acutely dramatic it is, I think you can still be moved and touched by it,\" he says of the Ben (Pelphrey) and Wendy (Laura Linney) spotlight installment.
As if the Byrdes weren't dealing with enough, between a growing criminal enterprise and a drug war, their household was rocked by the early season arrival of Wendy's younger brother Ben, whose unstable nature would soon begin to cause trouble for the family's money-laundering operation. After a violent outburst and short stay in the hospital, Ben confronted cutthroat cartel lawyer Helen (Janet McTeer), putting his life in jeopardy. Ben wouldn't make it out of \"Fire Pink\" alive, but he'd bring life to the episode, beginning with an intimate taxi ride, chilling monologue, and an \"actor's dream\" scene.
\"The first time I read [episode 9] I was reading it like an audience member and I was just crying,\" Pelphrey says with a laugh. \"Towards the end of the script I was having a hard time seeing the words.\"
Sakharov, a seasoned TV director with time spent on Game of Thrones and The Sopranos, was tasked with shooting the final four episodes of Ozark season 3, and he says the \"Fire Pink\" opening jumped off the page upon his initial reading. \"I thought to myself, 'Oh my god, how will this person be able to do that'\" he shares. \"Because there's so much to memorize and all this stream of consciousness. I knew that there was something special there.\"
As the actor and director worked together for weeks, they stayed away from discussing the taxi monologue, which was set to be filmed on Pelphrey's final day and the second to last day of season 3 production. \"I left it alone for a long time,\" says Sakharov, who wanted to avoid overtalking things. \"I don't want to tell the actor what to do before he does it.\" When it finally came time, they took inspiration from David Fincher by shooting the car scene in a studio modeled after one the filmmaker used on fellow Netflix original House of Cards.
As the episode opens, we see the shadowy, lone-gunman-style silhouette of the Mandalorian (Pedro Pascal) walking through blustery winds and snow at night toward the distant set of lights of a backwater, frontier town on the horizon. We cut to a cantina that's clearly a wretched hive of scum and villainy. Only the fearless and the foolhardy would enter this establishment. Inside, a humanoid bounty hunter (Jude Walko) and a Quarren are picking on a poor Mythrol (Horatio Sanz).
They trudge through the snow in the direction of a lone Kubaz, sitting on a box seemingly in the middle of the featureless tundra. Using a flute, he summons a taxi speeder that appears from out of nowhere. It's piloted by a droid, however, which, for an as-yet-unknown reason, doesn't sit well with the Mandalorian, so he asks for another. The next is rickety old speeder, with an equally rickety old pilot, played by comedy actor and writer Brian Posehn.
We're only a third of the way through the episode, and we already have a rough idea of how post-Empire bounty hunting works in the Outer Rim Territories. We learn that there's even a Bounty Hunters' Guild, a unionized workforce of sorts and a long-standing concept within the \"Star Wars\" expanded universe.
\"The Mandalorian\" may have been more eagerly awaited than \"The Rise of Skywalker,\" and the first episode doesn't disappoint. It does involve a lot of introductions, but this character and the world he inhabits are, in essence, blank canvases, so of course it's necessary to introduce the other characters that are important to the story.
Moreover, the show looks fantastic, as good as any of the movies. From the CGI to the costumes and production design, Disney has spared no expense, and Season 1 is believed to have cost in the region of $100 million; that's $12.5 million per episode. Season 2 has already started principal photography.
The second episode of \"The Mandalorian\" will air on Disney Plus on Nov. 15, followed by weekly installments on Nov. 22 and 29 and Dec. 6, 13, 18 and 27. A monthly subscription to Disney Plus costs $6.99; annual subscriptions cost $69.99. You can sign up for Disney Plus here (opens in new tab). Amazon has announced that the Disney Plus app will available on devices including Fire TV, Fire TV Edition smart TVs and Fire Tablets. Disney Plus won't be a