"Ride the White Horsey” – CROSS, Pictured: Ryan Eggold as Ed Ramsey. Photo: Keri Anderson/Prime Video @ 2010-2024 Amazon.com, Inc. or its affiliate. All Rights Reserved.
Upon seeing the title of episode two, "Ride the White Horsey," I couldn't resist harboring impure thoughts about Ed Ramsey (Eggold). Am I as tragic as Shannon (Mumford), who confessed to relishing Ramsey's guided tour of the Marquis de Sade-style Museum and its associated sadism? No. No. No. This sensation is less about me and more about the brilliant writing and casting of this show.
From the earliest moments of this episode, you're drawn into a world meticulously crafted by creator Ben Watkins and expertly acted by Hodge. Hodge brings the fictional Cross to life in ways that blur reality. For example, Cross’s chain of command is committed to the narrative that Emir's death is an accidental overdose, not murder. Of course, metro brass wants to close this case and squelch any anti-police protests. In the squad room, Cross continues to advocate that Emir Goodspeed's death is related to Tavio's death. The missing phone is the key. While watching a tape of Tavio's murder, he notices that Tavio’s girlfriend, Vanessa, took the phone. The look Cross serves his Superior, Lt. Massey, said, "Bitch, I told you."
Cross is a series that masterfully balances compelling storytelling with genuine character development, akin to discovering a rare gem. It’s the little things that touch me, like when Cross's best friend and partner, John Sampson (Mustafa), calls him by his nickname, ‘sugar’. Other times, the focus is on the unabashedly pro-Black family values. Again, Sampson (Uncle John) teaches Cross's kids black history by playing trivia for cash or when he offers to watch the kids while encouraging Cross to pursue his romance with Elle—at least the sex part.
"Ride the White Horsey” – CROSS, Pictured: Isaiah Mustafa as John Sampson. Photo: Keri Anderson/Prime Video @ 2010-2024 Amazon.com, Inc. or its affiliate. All Rights Reserved
Sometimes, it's the humorous and ominous exchanges between Ed Ramsey and Bobby Trey (Gill). For example, Ramsey tells Trey, "Be a good little doggie and stay on your leash." Trey gets in Ramsey’s face and says, "I'm not one of your minions. If I get caught up, we're gonna have a problem." "Oh, it bites," Ramsey calmly states as he takes Trey in. Trey simulates taking a bite out of Ramsey, snarling, "Like a mother fucker." These two are certifiable; yet it is still disconcerting that Trey is the half of this dastardly duo advocating restraint.
I won't reveal any of the twists in this episode for those who haven't seen it yet. However, be aware that the masterful execution of the plot twists and turns deceives you into forgetting you're watching a scripted piece. Each character's well-developed and authentic reactions draw you in, making you feel like you're on their journey. I had one of those moments when Vanessa met Trey. A second, diametrically opposed, experience I had was when Elle (Walkes) dances with Cross. Ed Ramsey wasn't the only character about whom I harbored impure thoughts. Like Elle, I am willing to wait for it. Wait for it. Wait for it.
"Ride the White Horsey” – CROSS, Pictured: Aldis Hodge as Alex Cross. Photo: Keri Anderson/Prime Video @ 2010-2024 Amazon.com, Inc. or its affiliate. All Rights Reserved
One last thing. The music chosen for this episode is also a master stroke. Each track tells its own emotional story, seamlessly aligning with the characters' journeys and enhancing the narrative depth. I'm referencing Trey's drug-fueled, manic playlist that captures his sinister state, infusing his scenes with palpable urgency and tension. During Cross's reflection on the anniversary of his wife's death, a melancholic jazz selection beautifully underscores his grief and loss. Finally, the romantic strains of "I Get So Weak in the Knees" played during Cross's attempt to reconnect with his old friend tenderly reflects his vulnerability and desire for healing. This episode's music selection is not just an accompaniment; it's powerful and emotionally resonant and serves to elevate the viewing experience.
Cross is a thoughtfully written and character-driven narrative. It evokes the viewer's emotional responses without ever making them feel manipulated. In "Ride the White Horsey," Cross persistently uncovers the truth behind Emir Goodspeed's murder, repeatedly bringing him to Ramsey's doorstep. The only criticism I have is that Cross and Sampson must navigate through some unpleasant female characters, including Chief Anderson (Wigmore), a fellow detective De Lackner (Greenwell), and a problematic reporter, Tania Hightower (Murphy), who work at cross-purposes with our protagonists.
"Ride the White Horsey” – CROSS, Pictured: Sharon Taylor as Lieutenant Oracene Massey, Stacie Greenwell as Shawana De Lackner. Photo: Keri Anderson/Prime Video @ 2010-2024 Amazon.com, Inc. or its affiliate. All Rights Reserved
Please don't let this very minor critique keep you from watching. Hodge as Cross remains the main attraction, as is the excitement that comes with the chaos of Eggold's Ramsey and the frenzy of Gill's Trey. As of episode two, the show does not disappoint and continues to be a must-watch series for aficionados of crime dramas.
What are you experiencing? Did you binge all episodes or are you taking it nice and slow like me? Let me know in the comments.
Overall Rating:
9/10
Lynette Jones
