By Steven Fenton
Welcome back to Bay Saint Lucille, readers. Join me in wrapping up the last few episodes of this fine comedy's short first season.
S1.E3. “The Cat’s Out”
Directed by: Nicole Holofcener
Written by: Cara DiPaolo
Tig dreams about waking up after her double mastectomy. As blood begins to bloom on her dressing gown, Caroline frantically wraps Tig in bandages, covering her eyes, promising she’ll never have to see her scars again. Later, while logged into her mother’s Amazon account (synergy!), Tig notices a purchase shipped to a Dalton Green. She tracks him down and discovers he’s Caroline’s son, and that her mother had been living a secret life.
On her show, Tig remembers seeing her mother reading, “What on Earth Am I Doing Here?” Tig thought she knew; Caroline’s purpose was to be a mother. But after discovering a lifetime of secrets, Tig realizes Caroline felt lost like her. She regrets her expectations of her mother prevented her from seeing the real Caroline. Tig wonders if it’s possible to put aside the bullshit and really see someone, or yourself. She resolves to look at her body and accept the reality of her life.
Episode Grade: About 25 minutes of filler worth a B, but the powerful final act merits an A
Funniest Moment: After Bonkerz goes AWOL, Bill asks Tig about his missing cat poster
Bill: You think that’s the best photograph?...it conveys her physical attributes, but...maybe it would have been better to use one that captures her unique personality.
Tig: I think it was best to go with the externals in this case.
S1.E4. “Let the Good Times Roll”
Directed by: Ken Kwapis
Written by: Robbie Pickering
Tensions are building up around Tig as she prepares to return to LA. She feels conflicted about leaving Bill without confessing what she’s learned about Caroline. Much to Bill’s chagrin, the doorbell rings as they are sitting down to dinner. Tig is greeted by two local Mardi Gras fest organizers (including the inimitable Beth Grant) who bemoan that Caroline was due to be this year’s Mardi Gras Queen (the revelations keep coming!). So they elected Tig in her place.
One of Tig’s royal duties is an interview with a local reporter Jessie, who boldly propositions Tig, offering to buy her a drink or three at the “Rusty Crawfish.” But Tig has to catch her flight back to LA. While trying to say goodbye to Remy and Bill, Tig’s childhood abuse comes back up and Bill wishes she’d just let it go; it was 30 years ago. While recounting this to Brooke on the way to the airport, Tig is appalled to hear Brooke not only agree, but also suggest Tig clinging to her trauma may be why she got cancer. Tig (rightly) hangs up on her and tells her driver to turn around and head for the Rusty Crawfish.
Episode Grade: C for diminishing returns and graceless character pivots)
Funniest Moment: Bill returning from a dead lead on Bonkerz’ whereabouts
Remy: Uh oh, looks like it was a bust on Bonkerz
Bill: A CALICO!
Remy: A calico? That’s so far off.
Bill: It was...quite a shock.
S1.E5. “How ‘bout Now, How ‘bout Right Now?”
Directed by: Ken Kwapis
Written by: Stephanie Allynne & Tig Notaro
Settling back in at the local station, Tig talks about a game she played with her friends “How ‘bout now, how ‘bout right now?” where they would dare each other to do something right then and there, no matter how extravagant. Tig’s tale resonates with Jessie, who dares Tig to be bolder. Her first challenge? Sex. Despite Tig’s discomfort with her body, Jessie rips Tig’s clothes off, exclaims her love of scars, and goes to town.
Feeling guilty about his insensitive comments, Bill tries to make amends with a home-cooked meal, but Tig and Jessie’s whirlwind date causes her to miss the dinner. When Bill confronts Tig, she lashes back; hammering into him how traumatic Remy’s and her childhood was and how it affects them still. She tells Bill about Caroline’s other family and is shocked when Bill admits he knew. He stayed because of his devotion to Caroline, and to them. Tig can’t accept he could be so devoted to them, but blind to her abuse. That’s when we finally see a flashback to the heartbreaking moment Caroline discovers her father, Tig’s grandfather, has been sexually abusing her daughter.
Episode Grade: B+ for a delicate balance of silly and sad
Funniest Moment: Jessie’s favorite subject to paint
S1.E6. “New Contact”
Directed by: Shira Piven
Written by: Melissa Blake
Tig is growing attached to the only other reasonable person in town, her producer Kate; but even she can’t convince Tig to stay in Mississippi. On the way to the airport, Bill detours to the cemetery to give Tig a chance to say a last goodbye to Caroline. In a fantasy graveyard slumber party, Tig comes face to face with her mother, and they decide to tell each other all their secrets. They’re soon joined by the spirits of other women, other victims of sexual violence. It’s a jarring and intentionally uncomfortable sequence, marrying frivolity and trauma.
Tig finally lands back on the west coast, but it’s not a triumphant return. She’s staying with a friend, since she’s homeless after her break up. Then WKRP chooses her millennial counterpart over her, canceling Tig’s show. With no home or job to anchor her there, Tig wonders what LA has left to offer. She picks up her phone to call her mom before remembering she’s gone. Bill answers and makes a heartfelt apology, and tells Tig he thinks of her as his daughter. Their conversation reminds Tig there is somewhere she is wanted.
Episode Grade: B for a sweet, but predictable conclusion
Funniest Moment: Remy saying goodbye at the airport
Remy: Do you think maybe that...we had a rough childhood?
Tig: Correct.
Final Thoughts: This show has a lot going on. I’ve often felt the brevity of streaming TV seasons was a benefit to writers, giving them a finite number of episodes to plan out and tell their story. One Mississippi is a streaming show that would benefit more from a standard 22-episode run. Even in style and characterization, it shares more with network television than a concise, nuanced streaming series like Transparent.
The show’s more serious storylines feel short-shrifted as they’re pushed to the perimeter of each episode by insignificant and incidental plots. There’s not enough time to lay the groundwork for rich emotional storytelling. And without that foundation, there’s no genuine climax or catharsis at the end of the season.
That said, the series’ strongest episodes have one thing in common: they are co-written by Notaro. There’s no question the show is Tig’s story, both Tigs, really. So it’s no surprise the most affecting moments come from Notaro directly. Notaro’s episodes are more absurd, incisive, and humane; everything this show strives to be. At its best, the show is a beautiful reminder of our the sweetness of our mortality, and the healing power of humor.