September 14th, 2010
“I’m afraid the 21st Century has come to Charming”
Nothing has really changed within SAMCRO as Sons of Anarchy enters its third season: there’s little discord amongst the group, and even though Gemma’s on the run and Abel’s a hostage of sorts in Ireland there is still the sense that the club itself is as solid as it’s ever been in the wake of last season’s tragedies.
However, the problem is that the world around them is no longer bowing down to their power: as Hale’s elder brother Jacob, trying to leverage his brother’s death into a successul mayoral run, notes in “Oiled,” the sort of old-school notion of law which the Sons held over Charming is no longer effective. We saw the wheels starting to come off the train last season, but there was a sense that it was SAMCRO’s lack of cohesion that led to their struggles. And yet, even when Gemma’s rape united Jax and Clay, and Opie got over his wife’s passing, things still unraveled in the finale, and things continued to unravel last week when mysterious gunmen killed Hale and threatened the safety of Charming.
“Oiled” is certainly a more methodical hour of television compared to last week’s premiere, as the sense of urgency which we expected to take hold during last week’s hour is replaced by a more functional effort to properly interpret the situation at hand. And yet, as the club tries to piece things together, their enemies are either committed to a more dangerous course of action or are already at work obfuscating reality in an effort to throw SAMCRO off the trail.
September 7th, 2010
In a post about the third season premiere of Sons of Anarchy, Kurt Sutter wrote the following:
“It would be very easy for me to repeat what worked in season two — create some internal beef that provided intensity and tension within the club, bring in another big nemesis, throw those two conflicts at each other and watch the blood flow. Yes, I’m sure it would be okay and people would like it. But ultimately, I would be cheating my own creative process and your dedication as well. I’ve learned that devoted fans are very sophisticated viewers. They know when they are being fed leftovers. Yeah, they may eat them for awhile, but eventually, they’ll get bored and leave to feed on something more tasty.”
This explains a great deal about “So,” an episode which lulls you into a false sense of security only to up the ante that much more after last season’s dark and twisted finale. Sons of Anarchy became one of television’s top dramas last year because Sutter is fearless, willing to go to particularly dark places and also willing to allow the story to escalate without concern over running out of story ideas in the future. There was actually enough story in the wake of that finale to sustain the season through the first few episodes: it wouldn’t even be leftovers so much as the rest of dinner, magically still warm despite having been sitting on the plate since last December.
What “So” establishes most clearly is that Sons’ action-packed narrative does not indicate a lack of nuance in its storytelling: as crafty as he is outspoken, Sutter creates the illusion of “moving on” while delivering a knockout blow which moves in an entirely different, yet perfectly complimentary, direction.
And, not surprisingly, I feel neither cheated nor bored: instead, I’m downright exhilarated.
November 3rd, 2009
When I wrote about Mad Men’s big JFK episode yesterday, I noted that one of the problems with playing with history is that it is already determined, and as such the show is left only with seeing how individual characters react to it. It introduces an element of certainty that is potentially damaging to the show’s dramatic tension, and while the characters are well-drawn enough to handle it there’s something about it that just feels off.
What’s interesting about the second season of Sons of Anarchy is that there is a similarly predetermined element to its central storyline, and for the most part it doesn’t particularly matter. One of my concerns this season has been the omniscient nature of Zobell and the League of American Nationalist, always a good two or three steps ahead of the Sons and always happening to plan (or stumble into) the ideal counterattack to further raise tensions within the club. It’s created a scenario where the Sons of Anarchy are at the whim of the League, their every move either a trap designed by the League or else a dangerous scenario only necessary because of actions the League has undertaken. If the show is about a crumbling organization trying to keep it together while dealing with the impact of unpredictable outside forces, which this season has definitely been, then it may be problematic that for us Zobell is wholly predictable: wherever SAMCRO is, he’s going to be there before they are.
However, as “Fa Guan” demonstrates, this hasn’t damaged the series so much as it has simplified the “plot” and allowed the intricacies of the various interpersonal relationships to rise to the surface. The show might be more realistic if the League weren’t quite so “on point” with their various attacks, but it would also be a lot less entertaining, and considering the show is currently one of the most entertaining shows on the air I think that this predetermination is worth an occasional raised eyebrow.
September 22nd, 2009
In the world of Sons of Anarchy, everyone’s got a problem they’re trying to fix; heck, in every single show on television, people are looking for solutions to problems. Early on in its second season, it’s clear that the real conflict on this show is not within any single problem but rather the inability for various characters to see (either due to ignorance or due to being too traumatized by their situation) that there are two levels of problems. One is the growing threat of the League of American Nationalists against the Sons of Anarchy or, if you’re on the other side of the coin, the ongoing blight of SAMCRO on the town of Charming. However, there is also the internal struggle between Clay and Jax, not to mention Gemma’s own personal tragedy as well as personal struggles for Opie (Donna’s tragic death), Tig (who murdered Donna) and it seems like just about everyone else.
“Fix” represents the episode where three weeks of letting these secrets and struggles linger is catching up with just about everyone, and everyone wants a solution that will make everything better but has no idea how to really find it. The show continues to embrace an almost satirical sense of the genres it plays with, never quite delving wholly into melodrama, and the result is that the show remains a pleasure to watch even as it deals with serious subjects in an emotional fashion.