Babylon Berlin–The Fragility of Democracy

Babylon Berlin Netflix series

Adapted from the best-selling detective novels by the German author Volker Kutscher, the highly praised Babylon Berlin begins less than ten years after the Treaty of Versailles. Germany is in turmoil. (Adolf Hitler and the Nazi Party would come to power in 1933.) Set in the golden ’20s (1926-1929), Berlin is not so golden for everyone. The Nazi takeover is still a couple of years in the future, but the general turmoil is already evident.

Babylon Berlin is part period drama, part police procedural, and part mystery thriller, but there is always an undercurrent of intense foreboding, drawing on our 100 percent hindsight of what’s to come. Hitler’s name is heard only once and Brown Shirts first appear in one of the last scenes. The era’s troubled Zeitgeist is well-known to viewers but not to the players in this underworld of politics.

Suffering from “shell shock” and addicted to morphine, police detective Gereon Roth (Volker Bruch), arrives in Berlin and connects with Lotte Ritter (Liv Lisa Fries), a police department typist, nightclub entertainer and part-time prostitute. She aspires to being the first female homicide detective, eager to escape the hardships of poverty and her brutal family life. Lotte manages to become a heroine despite the sexism and corruption of the police force.

Gereon and Lotte soon discover conspiracies and intrigue: hijacked freight trains, smuggled munitions, sex trafficking, police partnering with organized crime, Soviet collusion, Communist (Trotsky) revolutionaries, drug deals, and élite corporate magnates invested in maintaining their grip on the economy. Throughout, we see Berlin as a swamp of contrasts: elegant Berliners fill a debaucherous cabaret as rampant poverty persists in nearby neighborhoods; outright bigotry and violence occur daily and secretly; and ordinary Berliners cling either to a tenuous status quo or to dreams of revolution.

From economy to culture, everything is in the grip of radical change. Speculation and inflation are already tearing away at the foundations of the still young Weimar Republic. Growing poverty and unemployment stand in stark contrast to the excesses and indulgence of the city’s night life for the privileged and well-connected.

Weimar Democracy was under attack both from the Communist Left, as well as by traditional Conservatives, in a kind of unholy alliance. The Nazis did not just arise from nowhere. They were citizens who reacted to Germany’s economic conditions and wanted radical change. Both the government and the wealthy in Germany and Russia use this populism to serve their own dreams of domination.

 Politically and economically, the nation was struggling with the terms and reparations imposed by the Treaty of Versailles (1919) that ended World War I.  Punishing levels of inflation ensued.

The parallels with today are particularly disturbing. Could this backstory of what happened in Germany in the 1930s and the years immediately preceding the rise and stranglehold of Nazism foreshadow America today? And of course, we naturally speculate how easy it is for an anxious public to succumb to a demagogue.

Note:    This Netflix Original series is in German and subtitled.

 

 

Marcella –Battling Inner Demons

 

Marcella series

Promoted as a Scandinavian noir detective series on the streets of Britain, Marcella is written and directed and produced by Swedish screenwriter Hans Rosenfeldt, creator of The Bridge. Two seasons on Netflix, Marcella  delves into the psychology of a deeply troubled London detective.

In Season One Marcella Backland (Anna Friel) investigates a cold case involving a serial killer who appears to have become active again. At the same time Marcella also has to deal with her disintegrating personal life, where her husband, Jason (Nicholas Pinnock), has made the decision to leave her and take their two children into his custody. In addition, her soon-to-be ex-husband is suspected of being involved with the murder of his former girlfriend, Grace. Due to traumatic blackouts Marcella cannot recall her own confrontation with Grace.

 In Season Two Marcella investigates a pedophile, who has victimized and murdered her young son’s best friend and other young boys and girls. The suspects include an arrogant millionaire, a 1970s rock star with dementia, and his talent agent. Her estranged feckless husband has become engaged to a nurse, putting their children in the middle of an ugly custody battle. Marcella’s blackouts continue, and she seeks counseling to help her remember –under hypnosis–what happens.

Both seasons of Marcella delve into the psychology of a deeply troubled and flawed character, whom some viewers will find difficult to empathize with. Tortured and battling her own demons while trying to solve some of the most gruesome crimes on the streets of London, Marcella is challenged by doubt and “impostor syndrome”, not believing in her own capabilities to discover the murderers.

In the final episode of Season Two we see Marcella end her denial, admit she is not well, and descend into an abyss. We are waiting to see how she claws her way out in the projected Season Three.

In 2017, Friel was awarded the International Emmy Award for Best Actress. The structure of the narratives in Marcella are so complex that a second viewing is recommended. Could the narratives have been clearer? Yes, but still not so convoluted as to pass on this one. Not as riveting as The Bridge in several of its versions, but nonetheless highly original and psychologically riveting.

 

“Man in an Orange Shirt”–Thwarted Love

 

Man in an Orange Shirt

Man in an Orange Shirt, commissioned by BBC to celebrate the 50th anniversary of partial decriminalization of homosexuality in 1967, depicts with a modicum of success two love stories spanning seventy years. The first between two gay men hiding their passion and the second involving a duplicitous marriage of one-sided passion. Scripted by novelist Patrick Gale and partly autobiographical, Man in an Orange Shirt revisits prejudice and its impact on all.

Spanning three generations in one family, –from wartime Great Britain to the present day,– Man in an Orange Shirt uncovers secret love letters, a mysterious painting, and deep unfulfilled desires on the part of all characters.

The gently wrenching story of repressed love follows a secret romance between two World War Two soldiers Michael (Oliver Jackson-Cohen) and Thomas (James McArdle), and the resulting, heartbreaking impact on Michael’s wife Flora (Joanna Vanderham of “Paradise”). Compounding the heartbreak is Vanessa Redgrave who plays the octogenarian Flora trying to reconcile with a gay grandson.

Flora is furious at her husband’s sexual betrayal, but also frightened for him since homosexuality is a criminal offense. She and Michael share a sibling-like affection for each other, even though Flora wants and expects more. All three–Flora, Michael, and Thomas–are casualties, trapped by fear of prison, fear of marital rejection and fear of being a social outcast. Abrupt truncation of the secretive lives of all three leave the viewer wondering how they muddled through the superficiality of their everyday existence.

Fast forward to present day, when homosexuality is no longer criminalized, but tragedy and hurt still arise. “Gay shame” resides in the breathing space between the beloved grandmother Flora (Redgrave) and her grandson Adam (Julien Morris). Decades removed from her younger self, Grandma Flora has spent the best part of her life pretending her marriage was solid.  In 2017 Adam admits he feels gay shame, even in the present climate of assumed equality and openness. Appearing to function in a gay world, Adam’s terror at intimacy and commitment is palpable, in spite of a seemingly privileged life with dating apps to staunch his boredom.

A Man in an Orange Shirt has some touching moments between Michael and Thomas, and particularly between Flora and Adam, but the pivotal conversation about Adam’s sexuality lacks emotional heft and authenticity. The scene should have resonated deeply for many who are close to their grandparents. Redgrave’s performance as a woman who never had her husband’s love turns too artificial and overwrought as she transforms into an understanding and accepting figure for Adam.

I was disappointed in this dual story of thwarted love. “Call Me By Your Name”, an Academy Award-nominated film for 2018, reflects rejecting love for the sake of social convention with more power, authenticity, and emotion.  In sharp contrast, A Man in an Orange Shirt, is inconsistent and therefore forgettable.

Note:  Available on PBS.com

“The Gift”–Nothing is Free

The Gift movie

The Gift is a 2015 American-Australian psychological thriller  written, co-produced, and directed by Joel Edgerton (Academy Award nominated for his role in “Loving”). This is his directorial debut, and it is a winner!

Darkly unnerving, The Gift first conveys a vibe of horror, but then the narrative moves in the direction of “Fatal Attraction”, with a deft maneuvering of plot, character, style, and tone. No blood or gore, but a heart-pounding series of scenes without a stewed rabbit.

The film stars Jason Bateman (of “Ozark” and “Arrested Development” fame) and Rebecca Hall (“The Town” and “Vicky Cristina Barcelona”) as an affluent couple intimidated by Gordo, a former high school classmate of Simon’s, played by Edgerton.

Simon (Bateman) and Robyn (Hall) are a forty-something married couple whose life is going mostly as planned, except for the unfulfilled desire to have a baby. When a chance encounter with Gordo happens in a furniture store, their world devolves into a harrowing tailspin. Simon doesn’t remember Gordo at first, leading the viewer to believe a con may be going on. But after a series of devised encounters and mysterious gifts, Simon begins to remember high school with Gordo. A horrifying secret from the past is uncovered after more than 20 years. As Simon’s wife, Robyn, becomes aware of the relationship between Simon and Gordo, she begins to wonder if she really knows her husband. Simon hopes that bygones will be bygones. But Gordo retorts: “You’re done with the past but the past is not done with you.”

Hitchcockian in its buildup to Simon’s past sins, The Gift raises the question: Is it possible to lay ghosts to rest? This is the territory of karma: what impact one’s actions and words have on another may be obliterated from memory by the agent but not by the recipient. The Gift is both eerie and terrifying, speculating about just what happened in Simon and Gordo’s past. This film is a slow burner, but the theme and writing are superbly executed.

The ambiguity in morals of Simon and Gordo keep shifting the viewer’s loyalties as we see past events from both perspectives. Every plot twist and turn is virtually unpredictable and psychologically compelling. Is it really viable to say winners keep on winning because they deserve it and losers keep on losing because they deserve that too? Everyone –Simon, Robyn, and Gordo–is different from who they seem to be in the opening scenes, and even minor characters are surprising. The Gift should be seen!

 

Note: Available to stream on Netflix.

 

An Inspector Calls–Nothing Will Ever Be the Same


An Inspector CallsThe BBC mystery An Inspector Calls (2015),  based upon the 1947 J.B. Priestley play by the same name, is a morality tale for our time. Set in 1912 Arthur Birling, a wealthy self-made industrialist, has hopes of a knighthood and implicit social elevation through the engagement of his daughter to an aristocrat. Inspector Goole (the superlative David Thewlis) brusquely arrives, , announcing he is there to investigate the suicide of a young woman named Eva Smith. At first the Birling family claims not to know anything about her but Inspector Goole begins revealing that they do.

As the Inspector interviews each family member, the investigation progresses, unfolding secrets and lies. The family’s past actions are brutally exposed. Inspector Goole lays bare the family members’ lack of awareness of the impact their callous behavior has had on Eva Smith. “We don’t live alone upon this earth. We are responsible for each other,” the Inspector admonishes.

In one-to-one interrogations with the husband, wife, daughter, fiance, and son, Inspector Goole dissects the family’s hypocrisy, self-delusion, and cowardice. Arthur’s wife (the extraordinary Miranda Richardson) thinks the worst fate is a loss in social standing, unconcerned with the death of Eva Smith. Their daughter is also complicit. The fiance has unclean hands as well. The mother and son combine to finally push Eva over the edge. In addressing each of the family’s self-absorbed, self-protecting attitudes and behavior, Inspector Goole addresses how deeply damaging their actions are and what constitutes human decency.

An Inspector Calls is perhaps most provocative for its sharp rebuke of the family-centered, but highly insular and exclusionary views of Arthur and his wife, who believe individuals should protect themselves and their families at all cost, regardless of consequences to others. One may never know how actions may affect another, perhaps even throughout another’s lifetime, and so one must be aware and be kind. No actions are without consequences.

The plot is simply superb, tightly woven, and relentless in ratcheting the tension higher and higher. The lessons ring as true today as they did in 1912. David Thewlis performance is so understated that the effect is even more spellbinding.

An Inspector Calls is a clarion blast, warning human beings to care for those beyond their own inner circle, demonstrating a more inclusive attitude and empathy for those with less good fortune. The play is about identity and tribe–nothing will ever be the same.

Note: Available on Amazon Prime.

 

 

 

“Unforgotten”–The Power to Recall

 

Unforgotten PBS series

This British crime drama (PBS Masterpiece Mystery), comprised of three episodes in two seasons, focuses on one stone-cold case per season. Each involves a murder at least three decades old. The detective team– Cassie Stuart (the wonderful Nicola Walker of “Last Tango in Halifax” and Sunny Khan (the perfectly cast Sanjeev Bhaskar of “Indian Summers”)–solve each cold case in a delicate balancing of tension with hints of romance.

In Season 1 of Unforgotten the detectives discover the 1976 remains of a teenage boy found in the sub-basement of an apartment complex. No one but the two detectives seems to care or expect closure to the case, presuming any persons of interest would be untraceable or dead.

Unforgotten, like all good mysteries, creates encrusted layers of complex clues, red herrings, and surprises. There is no last-minute perpetrator inserted to fool the viewer. Nor is the culprit easy to guess in the first few minutes of watching. Characters are inserted in such a way that the viewer wonders where the interrelated scenes are going– a priest who helps the homeless, an older man losing patience with his wife’s descent into dementia, a woman tutoring students for their exams, and a man who obsesses over political power. There’s no indication that any of them know each other — or, really, could possibly know each other.

Season 2 of Unforgotten takes the drama up a notch. The detective team investigates another cold case– of a middle-aged man stuffed into a suitcase. His past is sordid. As the two detectives investigate the texts of possible suspects left on the pager of the deceased, secrets and lies are revealed for each of the persons of interest. But, all of them have rock-solid alibis. Questions of what constitutes justice are provocative. The two detectives eventually solve the mystery.

What distinguishes a mystery about a cold case is the stories of older people who have tremendous arcs revealing a complex series of rebirths: their pasts so complicated that who they are in the present is virtually unrecognizable. All middle-aged and old people were once young, with challenges and sex lives they may wish to forget but are not forgotten. In Unforgotten the history of each character– of their secrets and regrets– is the core narrative.  Like all good stories, the characters’ arcs reveal who we were, who we have become, and who we could be. Unforgotten is a stunning melodrama!

Note: The two-season series has now ended, but can be seen on PBS.com. Season 3 of Unforgotten is now in production.

 

“The Look of Silence”–Beyond Words to Forgive

The Look of Silence movie

This film (2015) is a companion piece and powerful account of the 1960’s genocide in Indonesia, a follow-up to Joshua Oppenheimer’s debut and Oscar-nominated documentary “The Act of Killing” (2012). Less horrific but more emotionally compelling, “The Look of Silence” is a haunting revisiting of the killing fields of Indonesia and the US’s role in the carnage. (The US purportedly promised gifts to those who rid the country of “communist resisters”.)   More than a million people were slaughtered.

An Indonesian eyeglass salesman named Adi Runkun is investigating the brutal murder of his brother back in 1965 during the dictatorship’s purge of “communists”.   While selling eyeglasses and giving eye exams, Adi discovers the men responsible for the murder. As a metaphor perhaps for “seeing”, the eyeglasses that Adi provides to  the murderers still prevent them from comprehending the enormous suffering and ruin that they have inflicted on millions of survivors half a century after.

The scenes are startling and unforgettable, filming family members who have to live in the village alongside the murderers of Adi’s brother and the brutalization of his father. In between investigating the background of the killing fields (=holocaust), Adi and his mother are shown bathing his fragile emaciated father, who was also a victim of the holocaust. “The Look of Silence” is brilliant in focusing on one family’s pain and suffering fifty years later, still reeling from the unthinkable loss, with the killers still in power and exhibiting no regret or remorse.

At times government officials even boast as they revisit the killing fields. Adi forgives them, but the viewer will not be able to forget! “The Look of Silence” is a documentary not to be missed about government’s inhumanity in the name of fighting communism. It is not easy to watch.

Note: Rated PG-13 but definitely NOT for that age group!  Available on Netflix as a DVD.

 

 

“In Secret”–Family Casualties

In Secret movie

In Secret depicts the desperate life of an orphaned girl as she becomes a  sexually repressed young woman. This 2013 American erotic thriller (previously titled Thérèse), is based on Émile Zola’s  classic novel,  Thérèse Raquin.  

In 1860s Paris, Thérèse Raquin (Elizabeth Olsen) is trapped in a loveless and sexless marriage to her sickly cousin, Camille (Tom Felton who played Draco Malfoy in the “Harry Potter” series). Thérèse is forced by her domineering aunt, Madame Raquin (the extraordinary Jessica Lange), to accept his marriage proposal, which essentially binding her to becoming a full-time caretaker. She spends her days languishing behind the counter of her aunt’s small shop until she meets her husband’s alluring artist friend Laurent LeClaire (Oscar Isaac). whose sexual charms she finds irresistible. Later Madame Raquin is incapacitated by a stroke and Thérèse’s caregiving role expands. The psychological tension rivals Dostoevski’s Crime and Punishment. Who understands one’s motives? Although it’s not easy to empathize with any of the characters, we can follow their flawed neurotic devolution into a dark and frightening world of unforeseen consequences.

In this captivating drama the lines are brilliantly blurred between hero and villain, lover and traitor. The viewer will quickly discover that there are no characters to cheer: one moment there is empathy and the next, repugnance.   The ensemble cast depicts these multi-dimensional characters fraught with mental aberrations almost effortlessly and with brutal honesty, capturing the devastating effects of attempting to achieve freedom and happiness no matter what the cost.

So cleverly ambiguous is the moral ground constructed by Zola that a powerful, intense, shocking human tale of lust, revenge and tragedy unfolds.  In Secret is a sleeper of a movie not to be missed!

 

Note: Available on DVD from Netflix.

RBG–Truth to Power

 

RBG the movie
RBG movie poster

Regardless of your political tastes, the documentary RBG offers an insightful peek into the life and work of a lifelong advocate for equal rights for women and minorities.

As one of three female Supreme Court justices serving on the nine-judge bench, Ruth Bader Ginsburg has become a cultural icon and something of a “fan-girl” sensation. We are entertained by the T-shirts and costumes depicting RBG as a superhero. Early in her career as counsel for the American Civil Liberties Union, Ginsburg argued more than 300 gender discrimination cases, including six in front of the SCOTUS, five of which she won.

The inspiring story of the 85-year-old Ruth Bader Ginsburg, a diminutive and shy but formidable  judicial powerhouse, begins with her upbringing in Brooklyn, the daughter of Russian Jewish parents. Personal interviews with Ginsburg’s childhood friends, family members, colleagues and young millennial fans reveal her impact on US law, as well as her contribution to social change.

 

RBG can’t contain its love for this remarkable legal mind. And rather surprisingly, this documentary is a valentine not only to RBG but also to her supremely proud and supportive husband, Martin–and their love story is very moving and poignant. Meeting at Harvard Law School, the young couple married and carried each other through school, sickness, and parenthood from 1956 until his death in 2010. (Martin was considered one of the top tax attorneys in the country and an endowed chair at Georgetown Law School bears his name.)

RBG the movie

After her husband’s death RBG has taken on even a more courageous, energetic stand in the Supreme Court and was given the moniker Notorious RBG after the rapper Notorious B.I.G. for her feisty style of resistance. Author and activist Gloria Steinem at one point describes Ginsburg as the “closest thing to a superhero I know.”

What ultimately emerges in RBG is a touching portrait of a brilliant Supreme Court justice– described as shy and retiring but with “a quiet magnetism”– a work horse and a master legal strategist in the tiniest and most unassuming of figures. A force of nature, RBG is a glorious homage of truth to power today.

 

Note:  For a charming portrait of the quirky little-known aspects of Ruth Bader Ginsburg, see Jeffrey Toobin’s March 2018 article, “Heavyweight”.

 

The Terror–A Chilling Northwest Passage Nightmare

 

The Terror series

Inspired by a true story and the novel by Dan Simmons, The Terror, a new AMC television series, takes the viewer into perilous territory as a 19th century Royal Navy crew attempts to discover the Northwest Passage through the Arctic Circle. A holy grail for intrepid explorers dating back to the 1700’s, the Northwest Passage is now open to cargo ships, oil tankers, and cruise ships because of climate change. That wasn’t always the case.

The Terror opens in 1846, with two crews–the HMS Erebus and the HMS Terror on a tandem quest to open the treacherous Northwest Passage for the British Empire and its trade mission. Faced with limited resources, an unruly crew, and fear of an unknown killing spirit, the Tuunbaq (borrowed from Inuit mythology), both ships are sailing towards the brink of extinction, isolated by the frozen tundra, and trapped at the end of the earth. Terror ensues.

HMS Terror’s Captain Francis Crozier (Mad Men’s Jared Harris) has every expectation of achieving the opening of the Northwest Passage, after replacing the expedition’s leader, Sir John Franklin (Game of Thrones” Ciaran HInds). Having a change of heart as he assumes command, Crozier must believe in their mission at the same time he is doubtful that they will succeed. His command and pretense at confidence are revealed through the toll that his deception takes on the man. In the first epsiode the word hubris is muttered, and it hangs over the rest of the series, a diagnosis, a rebuke, and a lesson on the profound misunderstanding of other worlds.

As winter approaches, with scurvy and starvation growing more severe, a young frightened Inuit woman (sneeringly nicknamed “Lady Silence”) is demonized.The Terror lives up to its name–not only as the name of a ship but also as the state of mind trapped in a frozen seascape.

In all the episodes we begin to understand uncomfortable truths: These men — all men — would survive, or at least find peace, if they could consider the world through someone else’s perspective. And they can’t.The Terror highlights all that can go wrong when a group of men, desperate to survive, struggle not only with the elements, but with each other and with a type of life that threatens their belief system.

Meticulous detail and painstaking reconstruction of what life on a naval ship looked like in 1846 are impressive as are the visual effects which rarely seem like a set or too many CGI special effects.

The Terror is a haunting, gripping story–not a horror flick– which will nonetheless chill you to your core. The tightness of the miniseries format certainly helps. I tore through precious food rations.  An unbelievably taut and original spin on adventure, exploration, and trespassing the boundaries of nature!

 

 

“The Alienist”– Something Wicked This Way Comes

The Alienist series

“The Alienist”, a TNT psychological thriller set in 1896, is based on the novel by Caleb Carr. People with mental illness were once considered “alienated from society,” unfathomable to doctors and laymen alike. Those who thought they could treat them were referred to as alienists, pre-dating the Freudian psychiatric movement by more than a decade. The Alienist foreshadows the Freudian theory of the unconscious, and the incipient emergence of forensics (including the first attempts at fingerprinting). If that is not enough, the series also foreshadows the suffragist movement, through the eyes of a police assistant trying to break through the glass ceiling of the NYPD.

The Alienist opens with a series of haunting, gruesome murders of boy prostitutes, terrorizing New York City . Newly appointed police commissioner Theodore Roosevelt (Brian Geraghty) calls upon criminal psychologist/alienist) Dr. Laszlo Kreizler (Daniel Brühl) and newspaper illustrator John Moore (Luke Evans) to conduct a secret investigation. They are joined by Sara Howard (Dakota Fanning), a headstrong secretary determined to become the city’s first female police detective and who is the key to solving the crimes. Using the emerging disciplines of psychology and early forensic investigation techniques, this band of outsiders sets out to find and apprehend New York City’s infamous serial killer.

The dark foreboding era of the Gilded Age is impeccably captured, immersing the viewer into a time period when the poor and the uber-rich were seen as two separate species. J.P. Morgan, the Astor family and their rarified social circles are played as the underbelly influencing not only finance and industry but also law enforcement and the news media.

Police Commissioner Teddy Roosevelt must maneuver his way through the power structure of Morgan and the Astors while the journalist Lincoln Steffens is trying to keep everyone honest. The acting is superb, with wonderful ensemble performances. The ending is a bit weak, an attempt to humanize the unsympathetic anti-hero Dr. Kreizler, and could have been omitted.

Nonetheless, this enthralling portrait of the mean streets of Victorian New York City is a keeper.

 

Seven Seconds–Black Lives Matter?

 

Seven Seconds Netflix Original Series

The Netflix Original  series Seven Seconds (premiered February 23) is about race, corrupt police and unequal justice. In the opening scene a hit-and-run of an African-American teenager by a white Jersey City rookie cop (Beau Knapp) is covered up by three other members of the police force.

The story is harrowing and complicated, with several subplots that are not resolved. But the seminal theme is clear: does a hit-and-run crime against a young black fifteen-year-old go unpunished, no matter what the evidence or the commitment of the prosecutor?

In ten episodes, Seven Seconds gives us an unflinching portrayal of a mother’s grief over her son, the brutal streets he had to survive in, and the demands of her religion. The opening scene and a number of subsequent ones display the ragged splashes of blood in the snow, the only remaining trace of the teenage bicyclist.

There are two main characters, both black women.   Prosecutor KJ Harper (Clare-Hope Ashitey) is sexually promiscuous and given to drunken stupors and self-doubt. Although from a privileged family, KJ uses none of her family’s status to enhance hers in the city’s power structure. Blunt and emotional, floundering in her personal life and in the courtroom, we see her undercut her own case. Nonetheless, KJ perseveres pursuing the hit-and-run case together with a cop, “Fish” (Michael Mosley), recently transferred from another precinct.

The other main character is the teenage victim’s mother, Latrice Butler (the extraordinary Regina King). She is determined to have justice be served based upon the love she has as a mother. She fights to win the affirmation that her son had existed, a human being not accorded the validation he deserved.

These two characters are the pas-de-deux of the story, the dynamic dance and driving force between what they hope for and what will happen. Veena Sud, the show’s creator (also showrunner for the award-winning The Killing), tackles the anti-hero as female, deeply-flawed, and often unappealing. KJ and Latrice are characters not often associated with film and television. At once unsympathetic but so vulnerable and damaged, both KJ and Latrice reveal how they must maneuver as black women in a white and often dangerous world and remain determined to have their voices heard, no matter what, no matter how painful.

Challenging stereotypes not only of race but also of gender, sexual identity, religion, and military service, Seven Seconds does not so much answer questions as raise them.  This mini-series is Netflix at its best: courageous, intelligent, and beautifully written. There are subplot holes, but the drama nonetheless is riveting and some of the writing is exceptional. Watching it is like reading a good novel, with commitment and depth: binge-viewing with few interruptions makes Seven Seconds even more powerful.

 

Note: Although Seven Seconds has been critically acclaimed and binge-viewed by its fans, Netflix announced this week that Seven Seconds will not be renewed for a second season. Why? This is a travesty!