The first season of American Crime was often hard to watch. It was challenging material, telling intricately interwoven stories that highlighted prejudice and different perspectives. It was good, but I was not sure it could stand for another season.
The second season is an even more tightly woven narrative, with more riveting performances from mostly the same cast and a few new faces (Connor Jessup, best known until now from Falling Skies has been particularly good, which isn’t a surprise when you consider that he was also one of the better parts of Falling Skies). Masterfully done – often employing images disconnected from sound, so you are never sure what has happened until it unfolds moments later. Fluidity, uncertainty, exceptional and brutal storytelling from different perspectives. Are you ever sure what has really happened? No. If anything the story in the second season punches you in the gut with the realization that there are no absolutes, yet we watch all the characters from their very different perspectives grapple with their own “absolutes” and the dissolution of those certainties.
The second season, as I write this, has been over for some time, meaning that I am left with very few details. The important point – and reason why I am writing about this so long after the fact – is that it does punch you in the gut and make you question what is true and real. The story revolved around feeling versus fact.
And, right now, America is faced with a high-stakes election in which “feeling” trumps (no pun intended but apt here) fact. Stephen Colbert revived his Colbert Report character to introduce the term “Trumpiness” and address this topic; John Oliver took it a step further, explaining that the theme of the recent Republican National Convention was “a four-day exercise in emphasizing feelings over facts”.
I highlight these timely things, despite their non-existent connection to American Crime (apart from the tangential Trump & GOP “feeling” that crime in America is out of control and crime rates are on the rise, despite the fact that data doesn’t support this “feeling”) because it is easy to lose sight of the fact that other people have completely different experiences of the world. What one person, irrationally or not, fears, is normal to someone else. American Crime excels at telling a complex story from fragmented viewpoints (in a way that our lacking-in-nuance political system never will).