As a seasoned viewer and critic of crime dramas, I must say that “Mayor of Kingstown” has always left me with mixed feelings. On one hand, it presents a gritty and unflinching portrayal of the harsh realities of small-town America, where corruption, violence, and moral compromises are as common as the sunrise. On the other hand, its penchant for excessive violence and quick character eliminations has often left me feeling unsatisfied.
Interested in gaining insights into the inner workings and ethos of prison gangs? I recommend checking out David Grann’s 2004 article “The Brand,” found in his book “The Devil and Sherlock Holmes.” In this piece, Grann delves deep into the background and expansive influence of the Aryan Brotherhood. The article also highlights the challenges faced by federal law enforcement as they strive to manage a dangerous criminal group that thrives within the U.S. correctional system – an environment where it’s particularly tough to gather information about their activities.
The key factor behind AB’s growth is their complete indifference towards any potential repercussions. Since they are typically serving life sentences, the prospect of additional imprisonment holds no sway over them. Neither guards nor fellow inmates can intimidate them. Instead, they view aggression as an initial response strategy.
In the season-three finale of “Mayor of Kingstown,” titled “Comeuppance,” it’s clear that Warden Kareem Moore is in grave danger as he attempts to break up an Aryan gathering in the prison yard without any backup support. Previously in the episode, we see Kareem sitting alone at home with a gun, and when the scene shifts outdoors, there’s an anticipation of a gunshot sound (a common trope in many films and TV shows where characters commit suicide off-screen). However, contrary to expectations, Kareem doesn’t take his own life on-screen. Instead, he chooses a tragic fate at work, opting for suicide by white supremacist. He knows they won’t listen to him when he orders them to disperse, and he dreads — correctly — the possibility of being stabbed.
This is the first big death in “Comeuppance.” It’s not the last.
Despite being the longest episode of the season, it progresses swiftly, much like a well-crafted episode from “Mayor of Kingstown.” It showcases a concentrated narrative focus that propels the story forward. The plotline is straightforward: Mike is prepared to carry out phase two of his “resolve all matters” scheme, which entails luring the Russians into an ambush and subsequently transferring control of Kingstown’s criminal operations to Bunny and the Crips (provided they vow never to cross beyond the boundaries). The majority of the action centers around the Crips, KPD, and Mike setting the trap.
Just like last week’s bungled scheme to have Raphael murder Merle, complications ensue.
As a seasoned detective with years of experience under my belt, I can’t help but notice the subtle signs that something is amiss in this investigation. The mysterious return of Milo and his covert operations have left a trail of breadcrumbs that are leading me to believe he’s up to no good. His latest mind-game, leaving a disemboweled body hanging from a railroad trestle, is a chilling reminder of the twisted mind at work here.
Although the storyline involving Charlie, Morrissey, Evelyn, and Ferguson might appear as a side note compared to the intense power struggle in Kingstown, it significantly shapes the course of events. Once Ferguson confesses his actions and Evelyn’s secrets to Mike, Kyle, and Sawyer, a wave of fear sweeps over them. Sawyer fears that Evelyn’s investigations could uncover much of his questionable past, while Kyle understands that defying his colleagues could lead to his own demise if he stands against them.
Evelyn’s tale resonates deeply with the essence of “Mayor of Kingstown” this season, and perhaps since its inception. Mike consistently deceives himself, justifying his life by believing that all forms of wrongdoing are equally wicked and that the unavoidable existence of evil leaves a pragmatic individual little alternative but to determine which particularly malicious person is most reliable. However, Evelyn, a native of Kingstown, has grown weary of such concessions. In her eyes, crime is crime, and as an Assistant District Attorney, she holds the authority to address a state of affairs that has become intolerable.
As Kyle and Sawyer carry out their roles in Mike’s Russian/Bunny/ambush scheme, they drive recklessly through Kingstown traffic while firing weapons to eliminate the Russians. However, things quickly spiral out of control (as is usually the case in Kingstown), and before long, Kyle watches in shock as an agitated Sawyer starts shooting at anyone who doesn’t immediately obey his commands, regardless of their criminal status. In a desperate attempt to stop him, Kyle shoots Sawyer, but fails to kill him. The incident is witnessed by other SWAT team members and numerous civilians with cell phones, leading to Kyle being arrested and detained by Evelyn at the end of the season.
In discussing the violent actions of Sawyer and Ferguson’s questionable killing of Morrissey, it’s beneficial to consider these incidents as examples of the Aryan Brotherhood’s problem-solving methods. It’s important to note that as police officers, the KPD enjoys a form of protection called “qualified immunity.” This means they believe they can take lives without facing consequences, as long as they can present a convincing explanation to the courts.
Although such a scenario might mirror reality, the liberty to commit murder doesn’t often lead to captivating drama. The best crime series, like “The Sopranos”, “The Wire”, “Breaking Bad”, and “Boardwalk Empire”, usually minimize the number of deaths as much as they can for as long as possible because it’s more engaging to watch characters who have violent conflicts try to live together. It has always struck me as unusual that shows like “Mayor of Kingstown” (similar to “Yellowstone”) are so eager to dispatch inconvenient characters prematurely.
To put it simply, I have no issues with the three significant deaths that conclude this episode and the season. When Milo resurfaces, he summons Mike to Konstantin’s yacht for a discussion. During this meeting, Milo informs Iris that she can claim the freedom Konstantin promised, as long as she assassinates the old Russian man. To be honest, making such a condition seems rather absurd. (If the intention is to eliminate Konstantin, why not just do it? Turning it into a challenge only wastes time and accomplishes little.) However, the outcome is justified. Iris kills Konstantin but fails to kill Milo because he doesn’t provide her with enough ammunition.
As a movie critic, I find myself compelled to express my thoughts on an unsettling turn of events in the film. You see, our protagonist, Mike, finds himself in a chilling predicament when Milo, the ominous figure, starts reminiscing about reclaiming his position as the Russian mob boss and confining Bunny to her old territory. It’s clear that Mike is done with any dealings that involve someone who would cold-bloodedly murder an entire bus full of teenage girls – a heinous act that Milo casually attributes to Mike, going as far as implying Mike’s guilt in the death of Mariam. In response to this provocation, Mike takes matters into his own hands and ends Milo’s life. It’s a grim reminder that some lines should never be crossed.
Leaving town, Iris overdoses on prescription pain medication. This tragic event marks the climax of our finale. As the season concludes, the Kingstown Police Department finds itself in chaos, the Russian faction weakened and without leadership, while the Aryan group remains powerful. It seems that Bunny might take this opportunity to broaden his operation, disregarding Mike’s instructions.
In simpler terms, I’m trying to decipher the message here, and “Comeuppance” seems to excel in subtler, more intimate scenes where characters struggle with their ambitions and principles. The narrative starts and ends with another instance of Mike’s “Gunsmoke”-like narration, a reflection (as we later learn, addressed to imprisoned Anna) about how Mariam told him to do whatever was necessary to survive in prison, only for her not to recognize him when he returned.
In this episode, the choices made by these characters in their lives, and whether they truly had a choice, are heavily explored. Prior to her escape into unconsciousness, Iris firmly believes she wished to remain in Kingstown, serving as a bargaining tool between Mike and Konstantin. On the other hand, before Milo informs him that their Russian mob bosses view him with disdain, Konstantin sees himself as a faithful and dedicated soldier. Alas, they all seem quite naive.
The moment that leaves the deepest impact in this episode occurs before Kareem encounters the Aryans and takes his own life. As he reviews security camera footage from the day of the grenade attack, he discovers that his protégé, Kevin, was involved in orchestrating the whole operation. He cautions Kevin about Bunny, stating that he’s not a friend and that helping him won’t have a positive outcome. “Profiting from punishment is a sin,” Kareem says. To this, Kevin, who may be young but isn’t gullible, responds, “Isn’t that what the entire system is built on, sir?”
Solitary Confinement
The exasperated expression that flashed across Mike’s face upon receiving a call from Iris and hearing Milo’s voice was quite something. It suddenly struck him that he hadn’t really been one step ahead of his competitors, contrary to what he believed.
As someone who has spent years immersed in the world of television production, I can say with confidence that “Mayor of Kingstown” is still very much a Taylor Sheridan show, even though he may not have had any writing or directing credits in season three. In my experience, the creative process in TV is a collaborative effort, and while individual contributions may vary, the overall vision and tone of a series are often established by its creator. In this case, “Mayor of Kingstown” shares many similarities with Taylor Sheridan’s other works, particularly “Yellowstone,” including its gritty, intense atmosphere and focus on complex characters navigating moral gray areas.
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2024-08-05 02:54