“Sounds like a slave to Santa Claus, but I respect the rebrand,” says Donald Glover’s Earn, explaining to his Dutch driver the Sinterklaas tradition and the question “What is blackface?” in the second episode of the third and penultimate season of Atlanta.
Yes, Atlanta is back, and judging by the first two episodes, the four years of waiting really was worth it.
Having just announced the debut of season 3 on March 24 at SXSW, the acclaimed FX series created by Donald Glover has created a site of sorts in culture that covers Ralph Ellison’s classic novel The Invisible Man, Virginia Woolf’s Orlando, San Ra’s tone and spirit lost generation. In short, from what I’ve seen, this is a true American masterpiece.
To be brief, I’m not going to list the chapters and verses of what happens in director Hiro Murai’s amazing episodes “Three Slaps” and “Sinterklaas Comes to Town” that will premiere on Disney-owned cable TV next week. To be honest, I couldn’t make the series written by Stephen Glover and Janine Nabers even come close to the justice they deserve, and so any attempt would be insulting at best.
What’s more, you should sit down and watch the episodes to enjoy the artistry that pervades Atlanta.
What I will say is that, as has been said, much of the third season of Atlanta takes place in Europe as Brian Tyree Henry’s Paper Boi rap career has exploded and he is on tour with manager and cousin Ern, with Wan Zazie Beetz and Lakitom. Darius from Stanfield together for a trip of sorts. The premise alone changes the show’s fundamental dynamics while still maintaining its established spirit, which is a rare result.
In this context, drawing you into their world and cutting their point of view across the digital divide between creator and viewer, the seasoned core ensemble of the Emmy and Peabody award-winning series intertwine with and around each other, and the storytelling is like a virtuoso, playing four notes in front of him, but never neglect the main melody. It’s a sight to behold, especially Eternals veteran Henry and Judas, and Black Messiah star Stanfield. And a particularly nightmarish and subtle opening of the season, led by the amazing talent of Christopher Farrer – an opening that can be completely in someone’s head or directly affect it.
On the other hand, the deception, duplicity and shrewd code in Atlanta’s scripts and performances have almost always defied expectations since the show’s launch in 2016. Heading into the show’s fourth and final season, this third season changes the background and literally and figuratively crosses oceans to delve into the glorious depths of modern television. In the midst of this longing there is a distinct uneasiness here, as if after the clouds have gathered a Great Storm is coming.
“I think you’re exactly where you need to be,” a self-proclaimed Dutch “death doula” notes to an uptight Van Beetz in the second episode of Season 3. In 2018, Atlanta is back exactly where it wanted to be.
A real and fantastic feat.