Lioness Recap: You’re in the Gray Now

As a movie buff with a lifelong fascination for gritty, action-packed series that don’t shy away from political commentary, I find myself both captivated and exasperated by the enigmatic allure of “Lioness.” With its intricate plotlines, larger-than-life characters, and a setting that feels like a post-apocalyptic Wild West, it’s a show that leaves me on the edge of my seat while simultaneously scratching my head in bewilderment.

Lioness is a mess of political signifiers without a coherent political worldview. You might say that’s what makes this cowboy techno-thriller an all-American TV classic. In the context of these “interesting times,” it’s also what makes it increasingly crazy-making to watch. Episode four brings season one fan-favorite Cruz back into the fold and makes the show’s first reference to the Israel-Palestine war in the same scene. “There’s no such thing as a moral war, Cruz. There is survival and there is surrender. You can ask any concertgoer in Israel the consequences of surrender, or any eight-year-old in Gaza for that matter. If you can find one.”

I’m fine with portraying the U.S. imperial project in an unflattering, dark manner, but it seems you’re presenting a rather unsavory topic while speaking with contradictory opinions. We’re teetering on the edge of excessive military propaganda, even for someone like me who often appreciates testosterone-fueled American entertainment blending Milius and Clancy styles. Yet, this highly skilled cast continues to impress me by devouring their scenes as if they all attended Al Pacino’s acting school in Heat (on-screen drama included).

Despite its own resistance, the lioness persists in articulating discordant, pre-cataclysmic images of U.S. dominance – a speeding train hurtling towards “the next American century.” Following a somewhat heated discussion with Kaitlyn and Byron, where she’s instructed to locate a skilled handler for their lioness pilot, Joe spots a trail on the highway and summons Kyle for backup. He, in turn, is already tracking her from the road, about five minutes away. Combining their efforts, they successfully bring the trail to a halt and forcefully detain the man at gunpoint. Special Agent Gutierrez (Kirk Acevedo) wastes no time in getting to the crux of the matter: what business does the CIA have traversing the border – drones flying overhead and teams creating commotion on abandoned airfields? The reason remains unclear, and he’s been dispatched by the DOJ not for surveillance but to offer protection.

In a heated outburst, Gutierrez combines Bush-era prejudice against Islam and violent portrayals of drug wars from the movie “Sicario” to make a chilling statement: “You’re not facing extremists who dwell in deserts with visions of virgins. These ruthless villains will casually appear at a sheriff’s house, offering a fortune in cash. The sheriff is then faced with a difficult choice: accept the money or witness them torturing his nine-year-old with a pitchfork and hanging his wife from a bridge.” Remarkably, Gutierrez has now set a record for the most emphatic use of profanity during a single rant on this show. The implication is clear: this cartel has infiltrated every state and federal agency within the U.S. government. If Joe wants to gain an edge against them, he should involve Gutierrez in the operation. “I am the book you can’t borrow from the library,” Gutierrez says mysteriously, hinting at his long-standing commitment to this job.

In the gripping continuation of this series, I found myself plunged back into the world of Cruz, after a tense sequence showcasing her sharpshooting skills that hinted at her unyielding resilience. Upon returning home, I was met by Joe, who’s been harboring a complex past with Cruz. The tension between us was palpable, given our tumultuous history from last season.

The lioness, much like a one-person written TV show, maintains unique traits that endear me to its narrative, despite potential industry concerns. Although writers’ rooms are crucial for creativity and commercial success, the individualistic flair present in a single creative mind contributes to a more diverse visual entertainment realm. For instance, LaMonica Garrett’s character, Tucker, who is relatively subdued among the cast of Lioness, consistently imbues his lines with an understated strength, warmth, and wisdom reminiscent of Aragorn. The interaction between their characters, combined with their dialogue, presents a balance between mainstream American TV appeal and a distinctive linguistic style. Josephina’s quip about an Apache attack while pinned down is a witty, humorous comment that underscores the camaraderie among the characters. Later, she mentions her eagerness to return to her unit. Tucker, having informally welcomed her into their group, confesses that she can’t go back to her old life; civilian or military life is no longer an option. Once in the gray area, there’s no turning back.

Let me rephrase it for you: Hey everyone, it’s been a while since our high-stakes action sequence this week. The episode “Five Hundred Children” lives up to its peculiar title by concluding with a covert raid on Los Tigres’ fortified warehouse at night. Gutierrez comes in handy with some outdated but effective intel, and Josephina gets her initial chance to shine in a stealthy helicopter. Inside the warehouse, they find hundreds of children huddled in fear. Bobby questions aloud as they leave these children behind in their small stealth chopper, looking up at our team departing, which creates a chilling Apocalypse Now-esque scene this week. Indeed, that was quite unsettling. I’d say we are now prepared to worry and quiver at the unknown threats ahead on the next phase of our mission.

2024-11-10 16:53

Lioness Recap: You’re in the Gray Now

Read More

Minority Mindset