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.