Let’s just call this one Cooper’s episode, shall we?
From the photo flash voiceover (“John Cooper’s learned on the streets of Los Angeles, a single step can separate life from death”), through the heartbreaking and dumbass-related situations he had to deal with throughout the day, to the existentially painful confrontation with his former T.O. at the end, this was all about Cooper.
Michael Cudlitz was f**king amazing in this episode. He did the whole dryly amused thing in dealing with the S&M mishap (classic line from the perp: “my cuffs or yours”); he drew on some deep, quiet heartbreak in his conversations with the victim who got trapped under a city bus, and his face as he watched her getting pulled out was devastating; and he went to a dark, painful place deep within his soul in the scenes dealing with Gerald McRaney’s starkly downward spiral. I don’t think we’ve ever seen Cooper so depressed as he was when Dewey tried to cheer him up in the locker room towards the end. Cudlitz made us feel the epic gravitas of Cooper’s deep crisis; he gave it weight, and somehow made it calm on the surface while showing us the dangerous currents swirling deep down below.
Although nothing, I mean nothing, can compare to the sheer genius of what must be the most devastatingly epic “you’re a numbnuts” staredown that Cooper gave the cop who handcuffed a guy and put him in the back of the patrol car without realizing he had a gun.
Note to self: Cooper does not like being shot at.
This is clearly turning into the season of Cooper’s soul. And in fact, the season as a whole is going deeper into these characters and what makes them tick, what drives them, what can destroy them, or save them. It’s a more subtle, more novelistic season than the previous four. It’s peeling back the layers on our core cast like never before. Flaying them, actually; it’s as unmerciful as it sounds.
One by one, the characters are being relentlessly driven far beyond their limits, into unknown territory for them. It’s dismantling everything they know about themselves, leaving them uncomfortably adrift in unfamiliar waters.
Shawn Hatosy is back in full angsty Sean Penn prowl mode as Tammy’s assault charges keep on rolling forward. She’s driving Sammy crazy and utterly messing with his head, just like she always has; only now, it’s sabotaging his ability to work, and blurring his moral lines, to say the least. Hatosy has been great this season, bringing bite and punch to Sammy’s scenes, giving us a compelling portrait of a man in crisis.
Sherman is continuing on his “a-hole trajectory”, somehow managing to get worse in every episode. His absolute amorality is amusing, though; starting the episode in the shower with one woman, and ending it in a different shower with a different woman, definitely shows his impressive commitment to being a dick. And the way he’s backing up Sammy one minute, reaming him out the next for depriving them of glory, then being all condescending and forgiving him… Sherman is in many ways struggling with who he is and what kind of cop and person he wants to be (he’s embracing the dark side, but one wants to believe it’s costing him). Ben McKenzie is as excellent as ever, and has found ways to shade in new, sharper details in his fearless and uncompromising portrayal of Sherman. McKenzie is a fantastic actor, and this role has been perfect for him. He makes Sherman’s unpleasantness utterly fascinating and compelling.
Regina King brought the despair nicely in this episode, dealing with a case that essentially played out her worst nightmare as a new mom. King was hypnotically distraught and flayed bare, while still keeping Lydia’s steely exterior mostly in place. Her performance was soulful and haunting.
Chad Feehan’s script (another debut this season) did a nice job of playing out these scenes of subtle heartbreak (while peppering the episode with some killer one liners), and Chris Chulack directed with a raw yet minimalist power. He unleashed kineticism when necessary (in the car chase, and Sherman’s fight scene), and stayed below the radar the rest of the time, presenting the scenes in a disturbing but SouthLAnd-style unflinching way.
Overall, the episode didn’t fully pop the way this show can (we’ve seen a husband/nanny story told more vividly and soulfully on the show last season, for example, and I know that wasn’t the point of this particular storyline, but it played a big role). However, this was supposed to be a deeper, more soul-searching episode, and in that respect, it delivered and then some.
Random Witness Statements:
- “Tend to your cactus, man. Rent a musical, do what you do…”
- “While you were f**king cheerleaders in the bleachers, I was on the streets.”
- Don’t get the bus in L.A.
- “Let’s go, P2.”
- Tommy Howell nailed it as Dewey, again; it was frankly disturbing to see him so subdued; his scenes with Regina were flawless.
- Sammy and the camcorder: a great SouthLAnd final scene.
One thought on “SouthLAnd “Bleed Out”: Cooper will stare you DOWN”
Don’t forget about what a great job Gerald McRaney is doing.