One of the things that makes SouthLAnd so great is its evolving textures; the writers have their own styles within the framework of the show, as do the directors. This diverse community around the central heart of SouthLAnd makes for a show that always feels fresh, on the edge, unfolding in ways we can never predict. Much like life in L.A. Much like a typical day in the lives of our cops.
Scripted by Jason Horwitch, Community was lacerating in its compressed complexity, its compacted violence. Each scene was a one inch punch that rocked out of nowhere, on the count of one, not three, with Felix Alcala bringing a brawling, aggressive directing style to the episode, getting up in everyone’s face.
We all need to take a moment here to recognize the absolute genius of Alcala’s brilliant shot-framing. All the show’s directors are great, but Alcala went hard at this episode, making it raw and beautiful in savage ways. His camera prowled the over-saturated Los Angeles streets and skyline, framing the actors and their backgrounds with an unerring eye on the motion and composition of the shot.
The camera (and the show) was set to slow-burn throughout, until the final inferno with its magnificent, alien, sci-fi Jimmy Muro lens flares and complex visual textures. It was as breathtaking as the emotional turbulence of the scene itself. It brought to mind the devastating emotions and hypnotic lighting of the conclusion to last season’s Code 4, which Alcala also directed.
And then there was the acting. Man, the acting.
The day players in this episode were f**king amazing. Every single one brought a vivid, intense and painfully raw performance that fit the show perfectly. This was a Community full of extraordinary talent. It’s a credit to the skill and dedication of the casting team on SouthLAnd that every single person on the screen leaps off it with their performance. There was something special in this episode with those day players; maybe it was the script, or the directing, but this felt like TV drama in true 3D.
The core cast, of course, nailed it. They always do, but it should never go without saying; it takes a tremendous amount of talent and hard work to maintain that level of excellence. Ben McKenzie proved that if the actor is engaging and that much of a natural star, the writers can make the character that much more of a dick without ever losing the viewers; much like David Duchovny in Californication, McKenzie’s easy charm brings the viewers back in even as his character continutes his steady descent into darkness. Special credit this week goes to Lucy Liu for her utterly perfect, low-key, lived-in naturalism. She’s integrated seamlessly into the show thanks to the truth she brings.
But MVP this episode was Regina King. Although Dorian Missick gave her a run for her money with his eloquently poetic performance as the father nervously rehearsing his daughter’s quinceanera speech, King’s near-silent performance at the end of their final scene in the episode was beautiful and moving. Especially in the light of the promo for next week, her reactions during and after Missick’s final lines were staggeringly, subtly great. It’s like there’s nothing, no human truth, King can’t convey with her eyes. She tells the truth so profoundly without even speaking. It was pure poetry as she listened to Missick, then pulled out her phone when he left the car, and made her call.
That’s what this show is all about: praise of the extraordinary. The extraordinary work that cops and detectives do every single day on the streets of Los Angeles, and the extraordinary work everyone in the cast and crew of this show brings to it week after week.