Should the story move forward, he might even be able to help her get a firmer grasp on the power that she’s still resorting to drastic measures to engage. Fishbowl) in a drafty barn hints at the idea that he has a vested interest in keeping the violence in Henry’s wake a secret. As Henry’s visions start to rework her own attack, it shows how it’s even coloring her perception of Jenna’s (Sarah Desjardins) own emerging relationship.įinding Nikolai (Callum Keith Rennie for our purposes, we’ve been unofficially calling the character Dr.
(Though, given the car dealers current state of “being dissolved in a tub of acid,” that’s certainly no guarantee.) “Impulse” shows how Clay going through an unexpected change could cloud his perception of what happened before and after the accident, but his own behavior continues to condemn him. Clay still sees himself as a victim, harboring blind animosity that will no doubt grow if he also holds Henry responsible for Bill’s gruesome end. Henry saving Clay from his burning house doesn’t magically redeem the latter in the scope of the show, either. Read More: YouTube Originals Boss Susanne Daniels on How ‘Cobra Kai’ Signals Its Evolution in the Streaming Wars From the multifamily dinner episode through Henry’s powerful messages told directly to Clay’s face, “Impulse” hasn’t shied away from the idea that some survivors aren’t just carrying memories of their assault - they’re confronted with the person responsible on a regular basis. The last episode is also a logical extension of the delicate way the show has handled the idea that Clay and Henry keep being brought together by forces outside their control.
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Going from the quarry at the beginning of the season, following through to a burning building, the front of a train, and then the barrel of a gun, “Impulse” has put itself in a position for Henry to force herself to learn how to control her newfound ability.
While the season has tracked Henry dealing with the aftermath of Clay’s assault in the opening episode, “Impulse” has done an effective, measured job in building up the danger that Henry needs in order to jump from place to place.
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