The New Pope Review: Season 1 Episode 7

He hath risen! Easter comes early on The New Pope Season 1 Episode 7.

Pius XIII (Jude Law) has come back from the dead or awakened from a coma. No one is really sure what to make of his sudden recovery, especially Pius himself—he keeps asking God why he called on him to return.

With his legions of followers literally hanging on his every breath you’d expect a lot of fanfare, but the news of it is kept hidden by the doctor in charge of his care, making this a restrained and sober episode.

It is certainly an unexpected direction for the story to take, and The New Pope is really good at that, but it’s almost too disjointed. Granted, many episodes this season have felt disjointed but in a more artful and gracious way where it is easy to excuse or you are thrust into another interesting narrative so it goes unnoticed.

We stay with Pius, the doctor, his wife, and their infirmed child through most of the episode. We get their backstory, some really beautiful scenes, and great performances, but it all feels very gratuitous. And this moment has been highly anticipated so this staid and methodical approach comes off as lackluster. 

Pius is adamant that he is not a saint nor does he perform miracles, but he proceeds to try and force a miracle by demanding one from God. His earnest attempts are moving and it’s nice to see Law back in this role in a larger capacity. “Make him a man, Lord” is a chill-inducing chant.

Likewise is the doctor’s wife’s desperation with the contrast of the reserved calmness of her husband. Their portrayals of grief and suffering are different, but they are still a unified front. Ulrich Thomsen as the doctor and Yuliya Snigir as his wife give understated, elegant performances, and their emotion comes across as pure—immaculate even.

The Pietà imagery and symbolism are ethereal, although a bit heavy-handed, but it connects us back to the Vatican. A terrorist attack under his own roof has sent Pope John Paul III (John Malkovich) into a depression. 

This is expected as the path had been laid with many bricks regarding Brannox’s proneness to depressive episodes. It does come as a surprise, though, that he confesses all of his secrets to Cardinal Gutiérrez (Javier Cámara).

John Paul III: Facing you is a man who is worthless. A man without merits. I’m indolent. I’m pompous. I’m irresponsible. I’m conceited. I’m a disappointment. I’m an undistinguished thespian. I’m a weak man. And I am a drug addict.

Apart from the last bit, this seems like someone being self-deprecating which is common when suffering from depression, but then he admits that he is actually a fraud—the work he is known for, “The Middle Way,” was really written by his brother who died before it could be published. 

This confession and Gutiérrez’s absolution are intercut with Pius’ spirited praying over Eric. The merging of these two scenes creates an interesting dynamic and raises many questions. I have no idea what to expect from the final two episodes.

That being said, I really need some sort of explanation or closure for the storyline of Ester (Ludivine Sagnier) and the woman in the red hoodie (Kika Georgiou). If it ends with them unceremoniously giving up on Pius, believing he is dead, and walking naked out into the sea, I’ll feel a bit ripped off. 

In fact, I already feel slighted. The two women have a moment in the beginning that is just brimming with potential, then what follows is abrupt and disappointing. I hope there is more to it than what we see on this episode.

Although, I am apt to forgive this trespass just for the opening titles of Pius walking down the beach in a glowing white speedo which is an exalted nod to the title sequence on The Young Pope.

It is heavenly.  

What did you think of this episode of The New Pope? Share your thoughts in the comments below!

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The New Pope airs Mondays at 9/8c on HBO.

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