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.
January 29th, 2010
I was warned ahead of time that Caprica’s pilot was not necessarily representative of the series, and that the two additional episodes sent to critics seemed to offer something very different. However, all of those people who had seen the episodes seemed excited but in a way that was at the same time quite cautious: when I chatted about the episodes with Todd over at Media Elites, he indicated that, while he was quite taken with the episodes, not everyone is going to fall head over heels in love with the show that Caprica has become.
I, however, have. What surprised me about Caprica was that it managed to resist diving straight into melodrama, despite a premise that lends itself to that sort of interaction. After a pilot that felt steeped in the complexities of holo-bands and avatars, “Rebirth” takes that scenario and investigates the human consequences: stories that are big philosophically, like the fate of Zoe Graystone’s Avatar, are small in the context of the story, while the stories which go public are those which are more personal and thus more devastating. Rather than focus on creating conflict between characters, the episode allows the characters to start developing independent of that conflict, discovering new ways to adapt to a world without a daughter or a family shattered by tragedy.
It’s an episode that manages to subtly investigate the show’s premise while also triumphantly proclaiming that Caprica is a place of great complexity, and a place that has no idea the changes that the next decade or two will bring; in short, it’s a damn fine start for the series at hand.