Social Distance sets episode 1 in April 2020 and ends the series in late May 2020 with graduation and the killing of George Floyd. Even such a tiny slice of pandemic quarantine provided eight powerful and meaningful episodes in this anthology series on Netflix.Continue reading “Review: Social Distance”
Orange is the New Black dropped its final season, season 7, on Netflix recently. I, like many others, devoted a good part of a weekend to watching the last ever episodes of this groundbreaking marvel of a television masterpiece roll by.Continue reading “Orange is the New Black: Farewell and Goodbye”
The final season of Orange is the New Black will release on Netflix July 26, a Friday. The social media team on this series, which is among the best in the world, is already at work. They’ve provided some early look photos and a fun video. EnjoyContinue reading “Early photos and fun from Orange is the New Black, season 7”
I’ve written about Orange is the New Black since season 1. I wanted to summarize my thoughts on this series, collect the most important posts in one spot, and share the results. This Orange is the New Black summary is my attempt to do that. Each headline is a link to the full article.Continue reading “Six Years of Thoughts on Orange is the New Black”
Season 1 of the Netflix Original comedy GLOW wasn’t a total romp. It had plenty of serious moments. The overall impact, however, is one of R rated campy fun and female empowerment via headlocks and body slams. Continue reading “Review: Season 1 of GLOW”
GLOW begins June 23 on Netflix. Before we talk about stars, take a look a who’s making this comedy.
GLOW is executive produced by Liz Flahive (Homeland, Nurse Jackie), Carly Mensch (Orange is the New Black, Nurse Jackie), Jenji Kohan (Orange is the New Black, Weeds) and Tara Herrmann (Orange is the New Black). These women have all made me very happy in the past. I’m trusting them with my future and GLOW. Continue reading “Watch This: Trailer for GLOW”
There are a lot of things wrong with the United States of America. The broken justice (injustice) system is one of the worst. In season 4 of Orange is the New Black, the for-profit aspect of that brokenness is explored in damning detail. Litchfield, a minimum security women’s prison, is turned into a battlefield with corporate greed directing the battle. There are spoilers ahead if you haven’t seen all of season 4. Continue reading “Orange is the New Black’s Damning Portrait of For-Profit Prisons”
HBO is coming out with a new app for Apple TV, iPad and iPhone called HBO Now that subscribes to all the HBO content for $15 a month. I may have to consider using it, because HBO has suddenly discovered women.Continue reading “HBO Discovers Women: Will I Have to Subscribe?”
Say hello to Vee (Lorraine Toussaint). Notice the dangerous headgear. Notice the deadly serious look in her eyes. Notice the nickname “queen” bestowed on her by the Orange is the New Black team.
Bringing Vee into the prison and into Orange is the New Black was a storytelling decision of brilliance from Jenji Kohan’s and the other writers on this Netflix Original Series.
It was such a juicy part – it gave Lorraine Toussaint a chance to move into Emmy Award territory. Why not give such a juicy part to one of the existing inmates? Someone we already think we know?
I have a few ideas about why an outsider, a newcomer, was important to season 2. Vee knew prison. She’d been there before. She knew Red, she knew the power Red used to wield from the kitchen. She knew how to turn prison culture to her advantage, just as she knew how to navigate life outside prison to her advantage.
A strength of season 1, a strength of the writing on this series, is the nuance. The layers revealed about each character in the storytelling, in the flashbacks. Because of that nuance, we thought we knew people.
But we didn’t know people in the way a master manipulator, a psychopathic user of human weakness like Vee knows them.
Vee knows how to spot someone who will be slavishly loyal in return for a glimmer of love, a glimmer of approval. She knows who will respond to family obligations. She knows who will go to the dark side out of a need for power or greed. She knows who will follow without question. She knows who can be tempted by the lure of a longed-for high. She knows who can be bought with bribery, with food, with small gifts.
Just watch Vee manipulate. She takes the sexy foster son she’s always lusted after to bed, then sends him out to be murdered. She comforts Tastee before her foster brother’s funeral by promising to protect her forever. Watch her work Tastee later in the prison when she realizes a piece of cake isn’t enough to win her over. Tastee wants an apology so Vee delivers. Watch her in the bathroom with Gloria where she uses tears to manipulate. Watch her deal with Black Cindy when Black Cindy uses cigarettes to get goodies for herself instead of profits for Vee. Watch her hit Poussey, both literally and figuratively, to keep her from influencing Tastee. Watch her promise friendship to Red and then lock sock her.
Lorraine Toussaint is brilliant in this part. I know I said that already, but damn, it’s worth repeating.
Vee goes into the prison and completely rewrites the culture in a few days. She recruits followers, sets tribes and factions against each other, breaks up friendships, and inflames hatred. She claims power with practiced ease.
Vee’s mayhem, Vee’s manipulations, pull back the curtain on all those characters we thought we knew. It gives us new insights. We see flaws, strengths, darkness, beauty in ways that we couldn’t in season 1 when everyone more or less got along. Vee disrupts, she brings an end to everyone just getting along, and personalities are laid bare in the process.
The women in Litchfield are criminals. They did bad things, stupid things, crazy things, violent things. But none of them are evil. Vee is evil. That’s another reason why Vee needed to be someone new to the cast. There was no evil-without-regret character already there.
Vee’s presence moves the story away from Piper. We still have Piper, of course, but her story doesn’t carry season 2 the way it did season 1. Season 2 is about power grabs, and Piper isn’t after power. Because Alex Vause will be back in season 3 in more episodes, Piper may come back into the forefront next season. Or maybe not. This story has taken on a life of its own. The actors, the characters, the chemistry between the actors, the fan response – all of it has carried Orange is the New Black bodily into places Piper Kerman’s original book never went.
So kudos to Jenji Kohan for writing Vee, kudos to Lorraine Toussaint for playing her with such brilliance, and kudos to everyone who got to go deeper and peel away more layers in response to Vee’s presence in the story. Brilliance all around.
A personal note: my nickname is Vee. It’s odd to write about a character named Vee.
This is my overall impression of season 2 of Orange is the New Black. I will talk about performances and high level story lines, without revealing big spoilers. More detailed discussions of particular episodes or events will come later after people have had plenty of time to watch all 13 episodes.
I watched all 13 episodes in two days, and my eyes felt like I’d just finished one of Diana Gabaldon’s Outlander books when I finally looked up. But the eye strain was worth it.*
The Cast and Credits
The first thing I noticed was who is listed in the main credits. Those people are Taylor Schilling, Uzo Aduba, Danielle Brooks, Michael Harney, Natasha Lyonne, Taryn Manning, Kate Mulgrew, and Jason Biggs. These are the names that show up every week. The cast has been shuffled around a bit, some people have moved up into major roles. Other actors, although very important to season 2, are listed in guest roles or are listed after the main titles roll. Samira Wiley as Poussey is a key actor in season 2, and her name should have been up front, in my opinion.
Fan favorite Laura Prepon shows up in only 3 episodes, but the way the season ends it looks like Alex Vause will be back in full force in season 3. Other favorites who are there, but not necessarily for every episode include Laverne Cox, Lea DeLaria, Yael Stone, Selenis Leyva and many others. All the same officers and prison people are still running the place badly, except Pornstache who only shows up in a couple of episodes.
Lorraine Toussaint, who comes in as a character named Vee, is in 8 episodes. In those 8 episodes she manages to throw the whole prison into quite a state.
In Praise of Brilliant Performances
There are so many brilliant performances in season 2. This is so much of what Orange is the New Black is: a showcase for brilliant talent that we don’t see anywhere else. While that isn’t true of the well-known Lorraine Toussaint, I want to call her out for her performance. She simply stunned in every way.
The cast who’ve been there all along were marvelous again this season. Taylor Schilling, Uzo Adubo, Danielle Brooks and Samira Wiley gave noteworthy performances. Really, everyone in this cast gives a noteworthy performance.
The backstory on each character is what makes us care so much about the women in Litchfield. This season we got more backstory on Piper (Taylor Schilling), Morello (Yael Stone), Sister Ingalls (Beth Fowler), Taystee (Danielle Brooks), Poussey, Miss Rosa (Barbara Rosenblat), Gloria (Selenis Leyva), Suzanne (Uzo Adubo), Black Cindy (Adrienne C. Moore) and Vee.
The Current Story
When the season begins, Piper is pulled from the SHU and taken to Chicago to the trial of the drug kingpin who was Alex’s boss. The trip from one prison to another provides an opportunity for a guest star, something that doesn’t happen often on this show. The guest was Lori Petty. Jodie Foster came back to direct again this season and she directed the Chicago trip episode.
At Litchfield, important plot points in this season are the dangerous conflict between Red (Kate Mulgrew) and Vee, the tension between the pregnant Daya (Dascha Polanco) and the C.O. John (Matt McGorry), the tension between Caputo (Nick Sandow) and Figueroa (Alysia Reiner), and the problems between Healey (Michael Harney) and just about everyone.
There’s a contest between Big Boo (Lea DeLaria) and Nicky (Natasha Lyonne) that leads to lots of funny lesbianing, but hang in there to the end of the season for the best Pensatucky lesbianing laugh of the year. Nicky has serious challenges to face as the season progresses, too.
Piper gets involved in tracing down corruption and finding proof of embezzled funds while dealing with Larry (Jason Biggs), Alex, a death in the family and more than one huge betrayal.
One of my favorite episodes revolved around Valentine’s Day. It revealed so many deep, meaningful insights. Another favorite was an episode where a good bit of the plot dealt with the fact that most of the women were unaware of their female anatomy and the construction of their lady parts in particular. The few who knew enlightened the others in some pretty funny ways.
I’m a ukelele player. I was highly amused by the C.O. (Joel Garland) who played a banjo ukelele while making up songs about nuns and bad mothers. Ukes forever!
The finale was written by Jenji Kohan. It wrapped up some problems, it opened up new problems for next season, and was a terrific way to end the season. It left us wanting more, it satisfied with poetic justice, and it left me convinced that season 3 can’t come soon enough.
*In one scene, Tastee recommends Outlander to Poussey.