In this, Orange Is the New Black has tended toward an amiable, if at times exasperating, messiness.
#Orange is the new black season 5 episode 13 analysis series
Indeed, their proliferation, as the series brought on new characters and filled in others, became its creative wellspring: The main action might be confined to Litchfield, but those flashbacks contain the world. Orange Is the New Black made its name by refusing to limit itself to one, or two, or twenty stories. At times, the up-until stories have so swiftly and forcefully encapsulated the lives of the women therein that Kohan seemed close to perfecting the flashback, if not reinventing it: Think of the heartbreaking Lorna Morello (Yael Stone), soaking in a bathtub wearing a rival’s wedding veil, or the galvanizing Blanca Flores ( Laura Gómez), gleefully fucking the gardener on her employer’s chaise longue. Of lesbians, Latinas, inmates, guards of activists, Appalachians, mothers, daughters of the hard-up, the middle-class, the once-lucky, the beaten-down. From the series’ first season, in fact, the plot of Orange Is the New Black has been the after-story, the epilogue to its trademark flashbacks’ up-until stories: Of Piper Chapman (Taylor Schilling) and her on-again/off-again lover, co-conspirator, enemy, friend, Alex Vause (Laura Prepon) of uncompromising Russian chef “Red” Reznikov (Kate Mulgrew) of the wrenching disaster that leads to Suzanne’s incarceration, the humorous con that lands Maritza Ramos (Diane Guerrero) in jail, the string of unhappy accidents that brought Tasha “Taystee” Jefferson (the delightful Danielle Brooks) to Litchfield. There is, as far as I’m aware, no better one-sentence description of Jenji Kohan’s tragicomedy, which first inhabited, subsequently expanded, and finally exploded the framework supplied by Piper Kerman’s 2010 memoir. “I don’t know what to say! There’s the story, and then there’s the other story, and then there’s the up-until story, and then there’s the after-story.” Or, to be precise, its narratives’ structures, emphasis on the plural: “I don’t know what to say,” she pleads, briefly reaching the heart of the matter before spinning off into Goldilocks and the Empire State Building and the suddenness, the irrevocability, of death. But her tearful response, which suggests the complexities of finding “the truth” in the chaos of an investigation, is even more telling for its tacit reference to the narrative structure of Orange Is the New Black.
team killed malevolent corrections officer Desi Piscatella (Brad William Henke), then proceeded to cover up his cause of death by framing the inmates Suzanne’s interrogator is trying (and failing) to pin down a reliable account of events. In the course of putting an end to the riot, as we’re reminded in a harrowing flashback, a trigger-happy S.W.A.T. In the Season Six premiere, Suzanne, along with many others implicated in the fifth season’s prison riot, finds herself down the hill in “max”-maximum security-separated from “gen pop”-the general population-and subject to questioning.
She’s the series’ chorus, its voice of (un)reason, its innocent abroad, so when Orange Is the New Black focuses on Suzanne “Crazy Eyes” Warren (Uzo Aduba), that’s our signal to listen close.
Editor’s note: The following contains spoilers from Season Six of Orange Is the New Black.
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