The Church of The Lesser Saints is Still Hunting LeAnne

This unexpected story style continues, as LeAnne actually steps outside. The camera begins to act differently. Under Shyamalan’s regular cinematographer Robert Gioulakis perfected eye, it sweeps and creeps with the defined dread we have come to know LeAnne feels when she happens to venture out. A stalking score partners with the cinematography to create a suffocating space as she comes face to face with the group who she was hoping she had banished in season three. 

In previous seasons of M. Night’s psychological thriller episodes usually take place entirely in the interior of the Turner’s home with occasional jaunts outside, but still quite close to their home base. In this second act of the season opener, William’s directing quickly unsettles the viewer, forcing them outside, putting them in LeAnne’s shoes, with seemingly no escape.

In the ominous and symbolic space that is Dorothy’s car, Gioulakis creates an even more stifling atmosphere as eerily timed tracking shots wander in and out of the interior and windshield of the car. A haunting score created by Trevor Gureckis cuts in and out, adding to the anxiety of our main character’s fate.

Night Shyamalan is and will always be known for a more slow burn, or “deliberate dread” style of filmmaking. His Apple TV+ Servant is no exception. Besides her hurried walks with Jericho to and from the park in seasons one and two, LeAnne doesn’t seem to find joyous occurrences outside the Turner’s home. This push outside her comfort zone, and methodical pacing of the episode’s beginning, poses viewers for a savage consequence.

The Forces That Have Long Lay Hidden Spread Their Wings in a New Way

When all hope seems lost, and our heroine is in what seems like real danger, LeAnne remembers her empowering journey in season three. Although her self actualization path has carried less meditating and more destruction, it holds weight just the same and gives her just the thing she needs to persevere.

Eagle eyed viewers will notice, not only a more opposite beginning to the start of season four, but a new title sequence as well. Swooping shots of the still crumbling home of the Turner’s is drenched in what seems like a near biblical downpour, with a standing strong LeAnne indifferent to it all. 

LeAnne’s forces and true origin have been a looming question mark from the first moments, still to the finale season. Could M. Night be dropping breadcrumbs in this first episode and an introduction to how devastating, or accommodating, these powers could be? 

In one powerful moment, the once meek and mysterious LeAnne looks to own her forces, manifesting them in fresh and chaotic ways. Director Dylan Holmes Williams shows viewers LeAnne is no longer hiding.

Things Are Not as They Seem With Dorothy’s Arrival

As LeAnne recovers we finally get to see Dorothy return home, looking as elegant and poised as only Dorothy Turner could look in a wheelchair. Followed by an exhausted Sean, Dorothy meets LeAnne’s hopeful greeting with deafening silence. The tension of this moment is deliciously held with the lack of underscore and dialogue. 

LeAnne is further shut out through a short back-and-forth with Julian and Sean. This leads one to wonder: What does Dorothy remember of the incident? Who will LeAnne have to turn to now?

For an ending note of mystery, in the final frames we see the elusive basement crack extend itself into the sidewalk, stopping just short of the road. What is LeAnne capable of? What is she hiding?

If episode one is any indication, M. Night Shyamalan accompanied by his daughter Ishana Shyamalan, audiences are in for one cryptic, thrilling ride! 

Servant can be found on AppleTv, with new episodes coming out every Friday.